Academic Language function

common core state stanDar Ds F or

english L\fngu\fge ar\bs

Li\ber\fcy in

His\bory/ soci\fl s\budies,

s cience, \fnd technic\fl subjec\bs

a ppendix B: tex\b exempl\frs \fnd

s \fmple Perform\fnce t\fsks Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

exempl\frs of re\fding tex\b complexi\by, Qu\fli\by, \fnd r\fnge

& s\fmple Perform\fnce t \fsks rel\f\bed \bo c ore s\b\fnd\frds

Selecting Text Exemplars

The following text samples primaril\r\f serve to exemplif\f the level of complexit\f and \bualit\f tha\rt the Standards re\buire

all students in a given grade band to engage with. Additionall\f, the\f are suggestive of the breadth of texts that stu-

dents should encounter in the text t\fpes re\buired b\f the Standards. The choices should serve as useful guidepo\rsts in

helping educators select texts of similar complexit\f, \bualit\f, and range for their own classrooms. The\f expressl\f do

not represent a partial or \rcomplete reading list.

The process of text selection was guided b\f the following criteria:

• Complexit\f. Appendix A describes in detail a three-part model of measuring text complexit\f based on \buali -

tative and \buantitative indices of inherent text difficult\f balanced with educators’ professional judgment in

matching readers and texts in light of particular tasks. In selecting texts to serve as exemplars, the work group

began b\f soliciting contributions from teachers, educational leaders, and researchers who have experience

working with students in the grades for which the texts have been selected. These contributors were asked to

recommend texts that the\f or their colleagues have used successfull\f with students in a given grade band. The

work group made final selections based in part on whether \bualitative and \buantitative measures indicated

that the recommended texts were of sufficient complexit\f for the grade band. For those t\fpes of texts—par -

ticularl\f poetr\f and multimedia sources—for which these measures are not as well suited, professional judg -

ment necessaril\f pla\fed a greater role in selection.

• Qualit\f. While it is possible to have high-complexit\f texts of low inherent \bualit\f, the work group solicited onl\f

texts of recognized value. From the pool of submissions gathered from outside contributors, the work group

selected classic or historicall\f significant texts as well as contemporar\f works of comparable literar\f merit,

cultural significance, and rich content.

• Range. After identif\fing texts of appropriate complexit\f and \bualit\f, the work group applied other criteria to

ensure that the samples presented in each band represented as broad a range of sufficientl\f complex, high-

\bualit\f texts as possible. Among the factors considered were initial publication date, authorship, and subject

matter.

Cop\fright and Permissions

For those exemplar texts not in the pub\rlic domain, we secured permissions and in some c\rases emplo\fed a conser-

vative interpretation of Fair Use, which allows limited, partial use of \rcop\frighted text for a nonprofit educational

purpose as long as \rthat purpose does not \rimpair the rights h\rolder’s abilit\f to seek a fair return for his or her work.

In instances where we could not emplo\f Fair Use and have been unable to secure permission, we have listed a title

without providing an excerpt. Thus, some short texts are not excerpted here, as even short passages from them would

constitute a substantial portion of \rthe entire work. In addition, il\rlustrations and other graphics in texts are generall\f

not reproduced here. Such visual eleme\rnts are particularl\f import\rant in texts for the \foungest students and in man\f

informational texts for readers of all ages.\r (Using the \bualita\rtive criteria outlined in Ap\rpendix A, the work group con-

sidered the importance and complexit\f of graphical elements wh\ren placing texts in bands.)

When excerpts appear, the\f serve onl\f as stand-ins for the full text. The Standards re\buire that students engage with\r

appropriatel\f complex literar\f and informational works; such complexit\f is best found in whole texts rather than pas-

sages from such texts.

Please note that these texts are included solel\f as\r exemplars in support \rof the Standards. An\f additional use of \rthose

texts that are not in the publi\rc domain, such as for classroom use or curriculum\r development, re\buires independent

permission from the rights holde\rrs. The texts ma\f not be copied or distributed in an\f wa\f other than as part\r of the

overall Common Core State Standards Initiative documents.

Sample Per\bormance Tasks

The text exemplars are supplemented b\f brief performance tasks that further clarif\f the\r meaning of the Standards.

These sample tasks \rillustrate specificall\f the ap\rplication of the Standards to texts of sufficient complexit\f, \bualit\f,

and range. Relevant Reading standards are noted in brackets following each task, and\r the words in italics in th\re task

reflect the wording of the Reading standard itself. (Individual grade-specific Reading standards are identified b\f their

strand, grade, and number, so that RI.4.3, for example, stands for Reading, Informational Text, grade 4, standard 3.) Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

How to Read This Document

The materials that follow are divided into text complexit\f grade bands as defined \rb\f the Standards: K–1, 2–3, 4–5, 6–8,

9–10, and 11–CCR. Each band’s exemplars are divided into text t\fpes matching those re\buired in the Standards for

a given grade. K–5 exemplars are separated into stories, poetr\f, and informational texts (as well as read-aloud texts

in kindergarten through grade 3). The 6–CCR exemplars are divided into English language\r arts (ELA), histor\f/social

studies, and science, mathematics, and technical subjects, w\rith the ELA texts further subdivid\red into stories, drama,

poetr\f, and informational texts. (The histor\f/social studies texts also include so\rme arts-related texts.) Citations intro-

duce each excerpt, and additional\r citations are included for texts not excerpted in the appendix.\r Within each grade

band and after each text t\fpe, sample performance tasks are included for select texts.

Media Texts

Selected excerpts are accompanied b\f annotated links to related media texts freel\f available online at the time of the

publication of this docume\rnt. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

t\fble of c on\ben\bs

K–1 tex\b exempl\frs ..................\L..................\L..................\L..................\L..................\L................. 14

s \bories ..................\L..................\L..................\L..................\L..................\L..................\L..................\L. 14

Minarik, Else Holme\rlund. Little Bear ..................\r..................\r..................\r..................\r...... 14

Eastman, P. D. Are You My Mother? ..................\r..................\r..................\r..................\r....... 15

Seuss, Dr. Green \fggs and \bam. ..................\r..................\r..................\r..................\r............. 15

Lopshire, Robert. Put Me in the Zoo ..................\r..................\r..................\r..................\r..... 15

Lobel, Arnold. Frog and Toad Together ..................\r..................\r..................\r................15

Lobel, Arnold. Owl at \bome ..................\r..................\r..................\r..................\r..................\r... 16

DePaola, Tomie. Pancakes for Breakfast ..................\r..................\r..................\r................17

Arnold, Tedd. \bi! Fly Guy ..................\r..................\r..................\r..................\r..................\r......... 17

Poe\bry ..................\L..................\L..................\L..................\L..................\L..................\L..................\L.. 17

Anon\fmous. “As I Was Going to St. Ives.” ..................\r..................\r..................\r............17

Rossetti, Christina. “Mix a Pancake.” ..................\r..................\r..................\r..................\r.... 17

F\fleman, Rose. “Singing-Time.” ..................\r..................\r..................\r..................\r............. 18

Milne, A. A. “Halfwa\f Down.” ..................\r..................\r..................\r..................\r..................\r.. 18

Chute, Marchette. “Drinking Fountain.” ..................\r..................\r..................\r.................18

Hughes, Langston. “Poem.” ..................\r..................\r..................\r..................\r..................\r.... 18

Ciardi, John. “Wouldn’t You?” ..................\r..................\r..................\r..................\r..................\r 18

Wright, Richard. “Laughing Bo\f.” ..................\r..................\r..................\r..................\r........... 18

Greenfield, Eloise. “B\f M\fself.” ..................\r..................\r..................\r..................\r................ 18

Giovanni, Nikki. “Covers.” ..................\r..................\r..................\r..................\r..................\r......... 18

Merriam, Eve. “It Fell in the Cit\f.” ..................\r..................\r..................\r..................\r........... 19

Lopez, Alonzo. “Celebration.” ..................\r..................\r..................\r..................\r..................\r 19

Agee, Jon. “Two Tree Toads.” ..................\r..................\r..................\r..................\r..................\r. 19

r e\fd- aloud s \bories ..................\L..................\L..................\L..................\L..................\L............. 20

Baum, L. Frank. The Wonderful Wizard of Oz ..................\r..................\r..................\r....20

Wilder, Laura Ingalls. Little \bouse in the \nBig Woods ..................\r..................\r.........20

Atwater, Richard and Florence. Mr. Popper’s Penguins ..................\r..................\r.....21

Jansson, Tove. Finn Family Moomintroll ..................\r..................\r..................\r................21

Hale\f, Gail E. A Story, A Story ..................\r..................\r..................\r..................\r..................\r 21

Bang, Moll\f. The Paper Crane ..................\r..................\r..................\r..................\r................. 22

Young, Ed. Lon Po Po: A Red-Riding \bood \nStory from China ..................\r..........23

Garza, Carmen Lomas. Family Pictures ..................\r..................\r..................\r................23

Mora, Pat. Tomás and the Library Lady ..................\r..................\r..................\r.................23

Henkes, Kevin. Kitten’s First Full Moon ..................\r..................\r..................\r.................24

r e\fd- aloud Poe\bry ..................\L..................\L..................\L..................\L..................\L.............. 25

Anon\fmous. “The Fox’s Fora\f.” ..................\r..................\r..................\r..................\r............. 25

Langstaff, John. Over in the Meadow. ..................\r..................\r..................\r..................\r.26

Lear, Edward. “The Owl and the Puss\fcat.” ..................\r..................\r..................\r........27

Hughes, Langston. “April Rain Song.” ..................\r..................\r..................\r..................\r.. 27

Moss, Llo\fd. Zin! Zin! Zin! a Violin ..................\r..................\r..................\r..................\r......... 27 Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

s\fmple Perform\fnce t\fsks for s\bories \fnd Poe\bry ..................\L..................\L........... 28

Inform\f\bion\fl t ex\bs ..................\L..................\L..................\L..................\L..................\L............ 28

Bulla, Cl\fde Robert. A Tree Is a Plant ..................\r..................\r..................\r..................\r.. 28

Aliki. My Five Senses ..................\r..................\r..................\r..................\r..................\r................ 29

Hurd, Edith Thacher. Starfish ..................\r..................\r..................\r..................\r..................\r 30

Aliki. A Weed is a Flower: The Life of George Washington Carver ..................\r30

Crews, Donald. Truck ..................\r..................\r..................\r..................\r..................\r................ 30

Hoban, Tana. I Read Signs ..................\r..................\r..................\r..................\r..................\r...... 30

Reid, Mar\f Ebeltoft. Let’s Find Out About Ice Cream ..................\r..................\r........31

“Garden Helpers.” National Geographic Young \fxplorers ..................\r..................\r31

“Wind Power.” National Geographic Young \fxplorers ..................\r..................\r.......31

r e\fd- aloud Inform\f\bion\fl t ex\bs ..................\L..................\L..................\L..................\L......... 31

Provensen, Alice and Martin. The Year at Maple \bill Farm ..................\r..................\r31

Gibbons, Gail. Fire! Fire! ..................\r..................\r..................\r..................\r..................\r........... 31

Dorros, Arthur. Follow the Water from Brook to Ocean ..................\r..................\r...32

Rauzon, Mark, and C\fnthia Overbeck Bix. Water, Water \fverywhere ............33

Llewell\fn, Claire. \farthworms ..................\r..................\r..................\r..................\r................. 33

Jenkins, Steve, and Robin Page. What Do You Do With a Tail Like This? ......33

Pfeffer, Wend\f. From Seed to Pumpkin ..................\r..................\r..................\r................33

Thomson, Sarah L. Amazing Whales! ..................\r..................\r..................\r..................\r... 34

Hodgkins, Fran, and True Kelle\f. \bow People Learned to Fly ..................\r..........34

s\fmple Perform\fnce t \fsks for Inform\f\bion\fl t ex\bs ..................\L..................\L.......... 36

Gr\fdes 2–3 t ex\b exempl\frs ..................\L..................\L..................\L..................\L..................\L. 37

s \bories ..................\L..................\L..................\L..................\L..................\L..................\L..................\L 37

Gannett, Ruth Stiles. My Father’s Dragon. ..................\r..................\r..................\r...........37

Averill, Esther. The Fire Cat ..................\r..................\r..................\r..................\r..................\r.... 37

Steig, William. Amos & Boris. ..................\r..................\r..................\r..................\r..................\r 38

Shulevitz, Uri. The Treasure..................\r..................\r..................\r..................\r..................\r.... 38

Cameron, Ann. The Stories Julian Tells ..................\r..................\r..................\r.................38

MacLachlan, Patricia. Sarah, Plain and Tall ..................\r..................\r..................\r..........38

R\flant, C\fnthia. \benry and Mudge: The First Book of Their Adventures .......39

Stevens, Janet. Tops and Bottoms ..................\r..................\r..................\r..................\r........ 40

LaMarche, Jim. The Raft ..................\r..................\r..................\r..................\r..................\r.......... 40

R\flant, C\fnthia. Poppleton in Winter ..................\r..................\r..................\r..................\r... 40

R\flant, C\fnthia. The Lighthouse Family: The Storm ..................\r..................\r...........41

Osborne, Mar\f Pope. The One-\fyed Giant (Book One of Tales from the Odyssey) ..................\r..................\r..................\r............41

Silverman, Erica. Cowgirl Kate and Cocoa ..................\r..................\r..................\r...........42

Poe\bry ..................\L..................\L..................\L..................\L..................\L..................\L..................\L. 43

Dickinson, Emil\f. “Autumn.” ..................\r..................\r..................\r..................\r..................\r... 43

Rossetti, Christina. “Who Has See\rn the Wind?” ..................\r..................\r..................\r43

Milla\f, Edna St. Vincent. “Afternoon on a Hill.” ..................\r..................\r..................\r...43 Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Frost, Robert. “Stopping b\f Woods on a Snow\f Evening.” ..................\r..............44

Field, Rachel. “Som\rething Told the Wild Geese.” ..................\r..................\r................44

Hughes, Langston. “Grandpa’s Stories.” ..................\r..................\r..................\r...............44

Jarrell, Randall. “A Bat Is Born.” ..................\r..................\r..................\r..................\r............. 44

Giovanni, Nikki. “Knoxville, Tennessee.” ..................\r..................\r..................\r................44

Merriam, Eve. “Weather.” ..................\r..................\r..................\r..................\r..................\r........ 45

Soto, Gar\f. “Eating While Reading.” ..................\r..................\r..................\r..................\r.... 45

r e\fd- aloud s \bories ..................\L..................\L..................\L..................\L..................\L............. 46

Kipling, Rud\fard. “How the Camel Got Hi\rs Hump.” ..................\r..................\r...........46

Thurber, James. The Thirteen Clocks ..................\r..................\r..................\r..................\r... 46

White, E. B. Charlotte’s Web ..................\r..................\r..................\r..................\r..................\r. 47

Selden, George. The Cricket in Times Square ..................\r..................\r..................\r.....47

Babbitt, Natalie. The Search for Delicious ..................\r..................\r..................\r...........48

Curtis, Christopher Paul. Bud, Not Buddy ..................\r..................\r..................\r............48

Sa\f, Allen. The Sign Painter ..................\r..................\r..................\r..................\r..................\r... 49

r e\fd- aloud Poe\bry ..................\L..................\L..................\L..................\L..................\L.............. 49

Lear, Edward. “The Jumblies.” ..................\r..................\r..................\r..................\r................ 49

Browning, Robert. The Pied Piper of \bamelin ..................\r..................\r..................\r.....51

Johnson, Georgia Douglas. “Your World.” ..................\r..................\r..................\r...........52

Eliot, T. S. “The Song of the Jel\rlicles.” ..................\r..................\r..................\r..................\r.52

Fleischman, Paul. “Fireflies.” ..................\r..................\r..................\r..................\r..................\r.. 52

s\fmple Perform\fnce t \fsks for s\bories \fnd Poe\bry ..................\L..................\L........... 53

Inform\f\bion\fl t ex\bs ..................\L..................\L..................\L..................\L..................\L.............. 53

Aliki. A Medieval Feast ..................\r..................\r..................\r..................\r..................\r............. 53

Gibbons, Gail. From Seed to Plant ..................\r..................\r..................\r..................\r........ 54

Milton, Jo\fce. Bats: Creatures of the Night ..................\r..................\r..................\r.........54

Beeler, Selb\f. Throw Your Tooth on the Roof: Tooth Traditions Around the World ..................\r..................\r..................\r..................\r 54

Leonard, Heather. Art Around the World ..................\r..................\r..................\r.............55

Ruffin, Frances E. Martin Luther King and the M\narch on Washington ............55

St. George, Judith. So You Want to Be President? ..................\r..................\r.............55

Einspruch, Andrew. Crittercam ..................\r..................\r..................\r..................\r.............. 55

Kudlinski, Kathleen V. Boy, Were We Wrong About Dinosaurs ..................\r........56

Davies, Nicola. Bat Loves the Night ..................\r..................\r..................\r..................\r...... 56

Floca, Brian. Moonshot: The Flight of Apollo 11 ..................\r..................\r..................\r.56

Thomson, Sarah L. Where Do Polar Bears Live? ..................\r..................\r..................\r57

r e\fd- aloud Inform\f\bion\fl t ex\bs ..................\L..................\L..................\L..................\L........ 57

Freedman, Russell. Lincoln: A Photobiography ..................\r..................\r..................\r.57

Coles, Robert. The Story of Ruby Bridges ..................\r..................\r..................\r...........58

Wick, Walter. A Drop of Water: A Book of Science and Wonder ..................\r....58

Smith, David J. If the World Were a Village: A Book about the W\norld’s People ..................\r..................\r..................\r..................\r... 59

Aliki. Ah, Music! ..................\r..................\r..................\r..................\r..................\r..................\r........ 59 Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Mark, Jan. The Museum Book:

A Guide to Strange and Wonderful Collections ..................\r..................\r............59

D’Aluisio, Faith. What the World \fats ..................\r..................\r..................\r..................\r..60

Arnosk\f, Jim. Wild Tracks! A Guide to Nature’s Footprints ..................\r...............60

Deed\f, Carmen Agra. 14 Cows for America ..................\r..................\r..................\r.........60

s\fmple Perform\fnce t \fsks for Inform\f\bion\fl t ex\bs ..................\L..................\L........... 61

Gr\fdes 4–5 t ex\b exempl\frs ..................\L..................\L..................\L..................\L..................\L. 63

s \bories ..................\L..................\L..................\L..................\L..................\L..................\L..................\L 63

Carroll, Lewis. Alice’s Adventures in Wonderland ..................\r..................\r...............63

Burnett, Frances Hodgson. The Secret Garden ..................\r..................\r..................\r.63

Farle\f, Walter. The Black Stallion ..................\r..................\r..................\r..................\r........... 64

Saint-Exupér\f, Antoine de. The Little Prince ..................\r..................\r..................\r......64

Babbitt, Natalie. Tuck \fverlasting ..................\r..................\r..................\r..................\r.......... 64

Singer, Isaac Bashevis. “Zlateh the Goat.” ..................\r..................\r..................\r............64

Hamilton, Virginia. M. C. \biggins, the Great ..................\r..................\r..................\r.........64

Erdrich, Louise. The Birchbark \bouse ..................\r..................\r..................\r..................\r.. 65

Curtis, Christopher Paul. Bud, Not Buddy ..................\r..................\r..................\r............65

Lin, Grace. Where the Mountain Meet\ns the Moon ..................\r..................\r...............66

Poe\bry ..................\L..................\L..................\L..................\L..................\L..................\L..................\L. 66

Blake, William. “The Echoing Green.” ..................\r..................\r..................\r..................\r.. 66

Lazarus, Emma. “The New Colossus.” ..................\r..................\r..................\r..................\r.67

Tha\fer, Ernest Lawrence. “Case\f at the Bat.” ..................\r..................\r..................\r.....67

Dickinson, Emil\f. “A Bird Came Down the Walk.” ..................\r..................\r...............68

Sandburg, Carl. “Fog.” ..................\r..................\r..................\r..................\r..................\r............. 69

Frost, Robert. “Dust of Snow.” ..................\r..................\r..................\r..................\r................ 69

Dahl, Roald. “Little Red Riding Hood and t\rhe Wolf.” ..................\r..................\r.........69

Nichols, Grace. “The\f Were M\f People.” ..................\r..................\r..................\r..............69

Mora, Pat. “Words Free As Confetti.” ..................\r..................\r..................\r..................\r... 69

s\fmple Perform\fnce t \fsks for s\bories \fnd Poe\bry ..................\L..................\L........... 70

Inform\f\bion\fl t ex\bs ..................\L..................\L..................\L..................\L..................\L.............. 70

Berger, Melvin. Discovering Mars: The Amazing Story of the Red Planet ......70

Carlisle, Madel\fn Wood. Let’s Investigate Marvelously Meaningful M\naps .......71

Lauber, Patricia. \burricanes: \farth’s Mightiest Storms ..................\r..................\r.......71

Otfinoski, Steve. The Kid’s Guide to Money: \farning It, Saving It, Spending It\n, Growing It, Sharing It ..................\r..................\r..................\r.71

Wulffson, Don. Toys!: Amazing Stories Behind Some Gr\neat Inventions ..........71

Schleichert, Elizabe\rth. “Good Pet, Bad Pet.” ..................\r..................\r..................\r.......71

Kavash, E. Barrie. “Ancient Mound Builde\rrs.” ..................\r..................\r..................\r......71

Koscielniak, Bruce. About Time: A First Look at Time and Clocks ..................\r..71

Banting, Erinn. \fngland the Land ..................\r..................\r..................\r..................\r.......... 72

Hakim, Jo\f. A \bistory of US ..................\r..................\r..................\r..................\r..................\r... 72

Ruurs, Margriet. My Librarian Is a Camel: \bo\nw Books Are Brought to Children Around the World ..................\r..................\r..................\r..72

Simon, Se\fmour. \borses ..................\r..................\r..................\r..................\r..................\r......... 73 Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Montgomer\f, S\f. Quest for the Tree Kangaroo:

An \fxpedition to the Cloud Forest of New Guinea ..................\r..................\r......73

Simon, Se\fmour. Volcanoes ..................\r..................\r..................\r..................\r..................\r.. 74

Nelson, Kadir. We Are the Ship: The Story of Negro League Baseball ............74

Cutler, Nellie Gonzalez. “Ken\fa’s Long Dr\f Season.” ..................\r..................\r.........74

Hall, Leslie. “Seeing E\fe to E\fe.” ..................\r..................\r..................\r..................\r............ 74

Ronan, Colin A. “Telescopes.” ..................\r..................\r..................\r..................\r................. 75

Buckmaster, Henrietta. “Underground Railroad.” ..................\r..................\r................76

s\fmple Perform\fnce t \fsks for Inform\f\bion\fl t ex\bs ..................\L..................\L.......... 76

Gr\fdes 6–8 t ex\b exempl\frs ..................\L..................\L..................\L..................\L..................\L. 77

s \bories ..................\L..................\L..................\L..................\L..................\L..................\L..................\L 77

Alcott, Louisa Ma\f. Little Women ..................\r..................\r..................\r..................\r.......... 77

Twain, Mark. The Adventures of Tom Sawyer ..................\r..................\r..................\r.....77

L’Engle, Madeleine. A Wrinkle in Time ..................\r..................\r..................\r..................\r.79

Cooper, Susan. The Dark Is Rising ..................\r..................\r..................\r..................\r......... 79

Yep, Laurence. Dragonwings ..................\r..................\r..................\r..................\r..................\r. 80

Ta\flor, Mildred D. Roll of Thunder, \bear My Cry ..................\r..................\r..................\r.80

Hamilton, Virginia. “The People Could Fl\f.” ..................\r..................\r..................\r.........80

Paterson, Katherine. The Tale of the Mandarin Ducks ..................\r..................\r........81

Cisneros, Sandra. “Eleven.” ..................\r..................\r..................\r..................\r..................\r..... 81

Sutcliff, Rosemar\f. Black Ships Before Troy: The Story of the Iliad ..................\r.81

Dr\fm\f ..................\L..................\L..................\L..................\L..................\L..................\L..................\L. 82

Fletcher, Louise. Sorry, Wrong Number ..................\r..................\r..................\r................ 82

Goodrich, Frances and Albert Hackett. The Diary of Anne Frank: A Play .....83

Poe\bry ..................\L..................\L..................\L..................\L..................\L..................\L..................\L. 83

Longfellow, Henr\f Wadsworth. “Paul Revere’s Ride.” ..................\r..................\r.......83

Whitman, Walt. “O Captain! M\r\f Captain!” ..................\r..................\r..................\r...........85

Carroll, Lewis. “Jabberwock\f.” ..................\r..................\r..................\r..................\r................ 85

Navajo tradition. “Twelfth Song of Thunder.” ..................\r..................\r..................\r.....86

Dickinson, Emil\f. “The Railwa\f Train.” ..................\r..................\r..................\r..................\r.86

Yeats, William Butler. “The Song of Wandering Aengus.” ..................\r.................87

Frost, Robert. “The Road Not Taken.” ..................\r..................\r..................\r..................\r.. 87

Sandburg, Carl. “Chicago.” ..................\r..................\r..................\r..................\r..................\r..... 87

Hughes, Langston. “I, Too, Sing America.” ..................\r..................\r..................\r...........88

Neruda, Pablo. “The Book of Questions.” ..................\r..................\r..................\r.............88

Soto, Gar\f. “Oranges.” ..................\r..................\r..................\r..................\r..................\r............. 88

Giovanni, Nikki. “A Poem for M\f Librarian, Mrs. Long.” ..................\r..................\r....88

s\fmple Perform\fnce t \fsks for s\bories, Dr\fm\f, \fnd Poe\bry ..................\L..............89

Inform\f\bion\fl t ex\bs: english L\fngu\fge ar\bs ..................\L..................\L..................\L..... 90

Adams, John. “Letter on Thomas Jefferson.” ..................\r..................\r..................\r....90

Douglass, Frederick. Narrative of the Life of Frederick Douglass an American Slave, Written by \bimself ..................\r..................\r..................\r............91 Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Churchill, Winston. “Blood, Toil, Tears and Sweat:

Address to Parliament on Ma\f 13th, 1940.” ..................\r..................\r..................\r....91

Petr\f, Ann. \barriet Tubman: Conductor on the Underground Railroad ..........92

Steinbeck, John. Travels with Charley: In Search of America ..................\r...........92

s\fmple Perform\fnce t \fsks for Inform\f\bion\fl t ex\bs:

english L\fngu\fge ar\bs ..................\L..................\L..................\L..................\L..................\L....... 93

Inform\f\bion\fl t ex\bs: His\bory/soci\fl s\budies ..................\L..................\L..................\L...... 93

United States. Preamble and First Amendment to the United States Constitution. (1787, 1791) ..................\r..................\r...............93

Lord, Walter. A Night to Remember ..................\r..................\r..................\r..................\r..... 93

Isaacson, Phillip. A Short Walk through the Pyramids and through the World of Art ..................\r..................\r..................\r..................\r........... 93

Murph\f, Jim. The Great Fire ..................\r..................\r..................\r..................\r..................\r... 94

Greenberg, Jan, and Sandra Jordan. Vincent Van Gogh: Portrait of an Artist ..................\r..................\r..................\r..................\r..................\r............. 94

Partridge, Elizabeth. This Land Was Made for You and Me: The Life and Songs of Woody Guthrie ..................\r..................\r..................\r............94

Monk, Linda R. Words We Live By: Your Annotated Guide to the Constitution ..................\r..................\r..................\r....95

Freedman, Russell. Freedom Walkers: The Story of the Montgomery Bus Boycott ..................\r..................\r..................\r...95

Inform\f\bion\fl t ex\bs: science, m\f\bhem\f\bics, \fnd t echnic\fl subjec\bs ................96

Macaula\f, David. Cathedral: The Story of Its Construction ..................\r...............96

Macka\f, Donald. The Building of Manhattan ..................\r..................\r..................\r.......96

Enzensberger, Hans Magnus. The Number Devil: A Mathematical Adventure ..................\r..................\r..................\r..................\r................ 96

Peterson, Ivars and Nanc\f Henderson. Math Trek: Adventures in the Math Zone ..................\r..................\r..................\r..................\r............ 97

Katz, John. Geeks: \bow Two Lost Boys Rode the Internet out of Idaho ........97

Petroski, Henr\f. “The Evolution of the Grocer\f Bag.” ..................\r..................\r.......98

“Geolog\f.” U*X*L \fncyclopedia of Science ..................\r..................\r..................\r.........98

“Space Probe.” Astronomy & Space: From the Big Bang to the Big Crunch ..................\r..................\r..................\r.............98

“Elementar\f Particles.” New Book of Popular Science ..................\r..................\r.....99

California Invasive Plant Council. Invasive Plant Inventory ..................\r................99

s\fmple Perform\fnce t \fsks for Inform\f\bion\fl t ex\bs:

His\bory/ soci\fl s\budies & science, m\f\bhem\f\bics, \fnd t echnic\fl subjec\bs.......100

Gr\fdes 9–10 t ex\b exempl\frs ..................\L..................\L..................\L..................\L................ 101

s \bories ..................\L..................\L..................\L..................\L..................\L..................\L................. 101

Homer. The Odyssey ..................\r..................\r..................\r..................\r..................\r................ 101

Ovid. Metamorphoses ..................\r..................\r..................\r..................\r..................\r............. 101

Gogol, Nikolai. “The Nose.” ..................\r..................\r..................\r..................\r..................\r... 102

De Voltaire, F. A. M. Candide, Or The Optimist ..................\r..................\r..................\r103

Turgenev, Ivan. Fathers and Sons ..................\r..................\r..................\r..................\r........ 104

Henr\f, O. “The Gift of the Mag\ri.” ..................\r..................\r..................\r..................\r.......... 104

Kafka, Franz. The Metamorphosis ..................\r..................\r..................\r..................\r....... 105 Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Steinbeck, John. The Grapes of Wrath ..................\r..................\r..................\r................105

Bradbur\f, Ra\f. Fahrenheit 451 ..................\r..................\r..................\r..................\r.............. 106

Olsen, Tillie. “I Stand Here Ironing.” ..................\r..................\r..................\r..................\r.... 106

Achebe, Chinua. Things Fall Apart ..................\r..................\r..................\r..................\r....... 107

Lee, Harper. To Kill A Mockingbir\nd ..................\r..................\r..................\r..................\r....... 107

Shaara, Michael. The Killer Angels..................\r..................\r..................\r..................\r....... 108

Tan, Am\f. The Joy Luck Club ..................\r..................\r..................\r..................\r................ 108

Álvarez, Julia. In the Time of the Butterflies ..................\r..................\r..................\r.....108

Zusak, Marcus. The Book Thief ..................\r..................\r..................\r..................\r............. 109

Dr\fm\f ..................\L..................\L..................\L..................\L..................\L..................\L..................\L 110

Sophocles. Oedipus Rex ..................\r..................\r..................\r..................\r..................\r........ 110

Shakespeare, William. The Tragedy of Macbeth ..................\r..................\r..................\r.111

Ibsen, Henrik. A Doll’s \bouse ..................\r..................\r..................\r..................\r..................\r 113

Williams, Tennessee. The Glass Menagerie ..................\r..................\r..................\r..........114

Ionesco, Eugene. Rhinoceros. ..................\r..................\r..................\r..................\r................. 115

Fugard, Athol. “Master \barold”…and the boys ..................\r..................\r..................\r...116

Poe\bry ..................\L..................\L..................\L..................\L..................\L..................\L..................\L 116

Shakespeare, William. “Sonnet 73.” ..................\r..................\r..................\r..................\r...... 116

Donne, John. “Song.” ..................\r..................\r..................\r..................\r..................\r............... 116

Shelle\f, Perc\f B\fsshe. “Oz\fmandias.” ..................\r..................\r..................\r..................\r.117

Poe, Edgar Allan. “The Raven.” ..................\r..................\r..................\r..................\r.............. 117

Dickinson, Emil\f. “We Grow Accustomed to the Dark.” ..................\r..................\r...119

Houseman, A. E. “L\roveliest of Trees.” ..................\r..................\r..................\r..................\r120

Johnson, James Weldon. “Lift Ever\f Voice and Sing.” ..................\r..................\r...120

Cullen, Countee. “Yet Do I Marvel.” ..................\r..................\r..................\r..................\r..... 120

Auden, W\fstan Hugh. ”Musée des Beaux Ar\rts.” ..................\r..................\r...............120

Walker, Alice. “Women.” ..................\r..................\r..................\r..................\r..................\r........ 120

Baca, Jimm\f Santiago. “I Am Offering This Poem to You.” ..................\r..............121

s\fmple Perform\fnce t \fsks for s\bories, Dr\fm\f, \fnd Poe\bry ..................\L..............121

Inform\f\bion\fl t ex\bs: english L\fngu\fge ar\bs ..................\L..................\L..................\L.... 122

Henr\f, Patrick. “Speech to the Second Virginia Convention.” ..................\r.........122

Washington, George. “Farewell Address.” ..................\r..................\r..................\r.........123

Lincoln, Abraham. “Gett\fsburg Address.” ..................\r..................\r..................\r.........123

Lincoln, Abraham. “Second Inaugural Address.” ..................\r..................\r...............124

Roosevelt, Franklin Delano. “State of the Union Address.” ..................\r.............124

Hand, Learned. “I Am an Am\rerican Da\f Address.” ..................\r..................\r..........125

Smith, Margaret Chase. “Remarks to the Senate in Support of a Declaration of Conscience.” ..................\r..................\r..................\r..................\r... 125

King, Jr., Martin Luther. “Letter from Birmingham Jail.\r” ..................\r..................\r..127

King, Jr., Martin Luther. “I Have a Dream: Address Delivered at the March on Washington, D.C., for Civil Rights on \rAugust 28, 1963.” ............127

Angelou, Ma\fa. I Know Why the Caged Bird Sings ..................\r..................\r...........128

Wiesel, Elie. “Hope, Despair and Memor\f\r.” ..................\r..................\r..................\r.........128

Reagan, Ronald. “Address to Students at Moscow State Universit\f.” ............128

Quindlen, Anna. “A Quilt of a Countr\f.” ..................\r..................\r..................\r...............129 Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

s\fmple Perform\fnce t\fsks for Inform\f\bion\fl t ex\bs:

english L\fngu\fge ar\bs ..................\L..................\L..................\L..................\L..................\L...... 129

Inform\f\bion\fl t ex\bs: His\bory/soci\fl s\budies ..................\L..................\L..................\L.... 130

Brown, Dee. Bury My \beart at Wounded Knee: An Indian \bistory of the American West ..................\r..................\r..................\r......130

Connell, Evan S. Son of the Morning Star: Custer and the Little B\nighorn ....130

Gombrich, E. H. The Story of Art, 16th \fdition ..................\r..................\r..................\r...131

Kurlansk\f, Mark. Cod: A Biography of the Fish That Changed the World .....131

Haskins, Jim. Black, Blue and Gray: African Americans in \nthe Civil War ........131

Dash, Joan. The Longitude Prize ..................\r..................\r..................\r..................\r.......... 132

Thompson, Wend\f. The Illustrated Book of Great Composers ..................\r.......132

Mann, Charles C. Before Columbus: The Americas of 1491 ..................\r...............133

Inform\f\bion\fl t ex\bs: science, m\f\bhem\f\bics, \fnd t echnic\fl subjec\bs ...............133

Euclid. \flements ..................\r..................\r..................\r..................\r..................\r..................\r...... 133

Cannon, Annie J. “Classif\fing the Stars.” ..................\r..................\r..................\r............135

Walker, Jearl. “Amusement Park Ph\fsics.” ..................\r..................\r..................\r..........136

Preston, Richard. The \bot Zone: A Terrifying True Story ..................\r..................\r.136

Devlin, Keith. Life by the Numbers ..................\r..................\r..................\r..................\r...... 137

Hoose, Phillip. The Race to Save Lord God Bird ..................\r..................\r.................137

Hakim, Jo\f. The Story of Science: Newton at the Center ..................\r..................\r137

Nicastro, Nicholas. Circumference: \fratosthenes and the Ancient Quest to Measure the Globe ..................\r..................\r..................\r..............137

U.S. Environmental Protection Agenc\f/U.S. Department of E\rnerg\f. Recommended Levels of Insulation ..................\r..................\r..................\r................. 138

s\fmple Perform\fnce t \fsks for Inform\f\bion\fl t ex\bs:

His\bory/ soci\fl s\budies & science, m\f\bhem\f\bics, \fnd t echnic\fl subjec\bs........138

Gr\fdes 11–ccr t ex\b exempl\frs ..................\L..................\L..................\L..................\L........... 140

s \bories ..................\L..................\L..................\L..................\L..................\L..................\L................ 140

Chaucer, Geoffre\f. The Canterbury Tales ..................\r..................\r..................\r..........140

de Cervantes, Miguel. Don Quixote ..................\r..................\r..................\r..................\r.... 140

Austen, Jane. Pride and Prejudice ..................\r..................\r..................\r..................\r....... 142

Poe, Edgar Allan. “The Cask of Amontil\rlado.” ..................\r..................\r..................\r...143

Brontë, Charlotte. Jane \fyre ..................\r..................\r..................\r..................\r................. 144

Hawthorne, Nathaniel. The Scarlet Letter ..................\r..................\r..................\r...........145

Dostoevsk\f, F\fodor. Crime and Punishment ..................\r..................\r..................\r....146

Jewett, Sarah Orne. “A White Heron.” ..................\r..................\r..................\r.................146

Melville, Herman. Billy Budd, Sailor ..................\r..................\r..................\r..................\r..... 147

Chekhov, Anton. “Home.” ..................\r..................\r..................\r..................\r..................\r...... 148

Fitzgerald, F. Scott. The Great Gatsby ..................\r..................\r..................\r.................149

Faulkner, William. As I Lay Dying ..................\r..................\r..................\r..................\r......... 149

Hemingwa\f, Ernest. A Farewell to ..................\r..................\r..................\r..................\r..... 150

Hurston, Zora Neale. Their \fyes Were Watching God ..................\r..................\r.....150

Borges, Jorge Luis. “The Garden of Forking Paths.” ..................\r..................\r........150

Bellow, Saul. The Adventures of Augie March ..................\r..................\r..................\r....151

Morrison, Toni. The Bluest \fye ..................\r..................\r..................\r..................\r............... 152 Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Garcia, Cristina. Dreaming in Cuban ..................\r..................\r..................\r..................\r... 152

Lahiri, Jhumpa. The Namesake ..................\r..................\r..................\r..................\r.............. 152

Dr\fm\f ..................\L..................\L..................\L..................\L..................\L..................\L..................\L 153

Shakespeare, William. The Tragedy of \bamlet ..................\r..................\r..................\r..153

Molière, Jean-Baptiste Po\buelin. Tartuffe ..................\r..................\r..................\r...........153

Wilde, Oscar. The Importance of Being \farnest ..................\r..................\r.................154

Wilder, Thornton. Our Town: A Play in Three Acts ..................\r..................\r.............156

Miller, Arthur. Death of a Salesman ..................\r..................\r..................\r..................\r...... 156

Hansberr\f, Lorraine. A Raisin in the Sun ..................\r..................\r..................\r..............156

So\finka, Wole. Death and the King’s \borseman: A Play ..................\r..................\r..157

Poe\bry ..................\L..................\L..................\L..................\L..................\L..................\L..................\L 157

Li Po. “A Poem of Changgan.” ..................\r..................\r..................\r..................\r............... 157

Donne, John. “A Valediction Forbidding Mourning.” ..................\r..................\r........157

Wheatle\f, Ph\fllis. “On Being Br\rought From Africa to America.” ..................\r...158

Keats, John. “Ode on a\r Grecian Urn.” ..................\r..................\r..................\r..................\r.158

Whitman, Walt. “Song of M\fself.” ..................\r..................\r..................\r..................\r........ 159

Dickinson, Emil\f. “Because I Could Not Stop for Death.” ..................\r................160

Tagore, Rabindranath. “Song VII.” ..................\r..................\r..................\r..................\r....... 160

Eliot, T. S. “The Love Song of J. Alfred Prufrock.” ..................\r..................\r.............160

Pound, Ezra. “The River Merchant’s Wife: A Letter.” ..................\r..................\r........160

Frost, Robert. “Mending Wall.” ..................\r..................\r..................\r..................\r............... 161

Neruda, Pablo. “Ode to M\f Suit.” ..................\r..................\r..................\r..................\r......... 162

Bishop, Elizabeth. “Sestina.” ..................\r..................\r..................\r..................\r..................\r. 162

Ortiz Cofer, Judith. “The Latin Deli: An Ars Poetica.” ..................\r..................\r.......162

Dove, Rita. “Demeter’s Pra\fer to Hades.” ..................\r..................\r..................\r............163

Collins, Bill\f. “Man Listening to Disc.” ..................\r..................\r..................\r..................\r.163

s\fmple Perform\fnce t \fsks for s\bories, Dr\fm\f, \fnd Poe\bry ..................\L.............163

Inform\f\bion\fl t ex\bs: english L\fngu\fge ar\bs ..................\L..................\L..................\L... 164

Paine, Thomas. Common Sense ..................\r..................\r..................\r..................\r........... 164

Jefferson, Thomas. The Declaration of Independence ..................\r..................\r....164

United States. The Bill of Rights \r(Amendments One thr\rough Ten of the United States Constitution). ..................\r..................\r..................\r................. 166

Thoreau, Henr\f David. Walden ..................\r..................\r..................\r..................\r.............. 167

Emerson, Ralph Waldo. “Societ\f and Solit\rude.” ..................\r..................\r.................167

Porter, Horace. “Lee Surrenders to Grant, April 9th, 186\r5.” ..................\r.............168

Chesterton, G. K. “The Fallac\f of Success.” ..................\r..................\r..................\r........169

Mencken, H. L. The American Language, 4th \fdition ..................\r..................\r.......169

Wright, Richard. Black Boy ..................\r..................\r..................\r..................\r..................\r... 170

Orwell, George. “Politics and the Eng\rlish Language.” ..................\r..................\r......170

Hofstadter, Richard. “Abraham Lincoln and the Self-Ma\rde M\fth.” ..................\r170

Tan, Am\f. “Mother Tongue.” ..................\r..................\r..................\r..................\r..................\r. 170

Ana\fa, Rudolfo. “Take the Tortillas Out of Your Poetr\f.” ..................\r..................\r.171

s\fmple Perform\fnce t \fsks for Inform\f\bion\fl t ex\bs:

english L\fngu\fge ar\bs ..................\L..................\L..................\L..................\L..................\L....... 171 Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Inform\f\bion\fl tex\bs: His\bory/soci\fl s\budies ..................\L..................\L..................\L..... 172

Toc\bueville, Alexis de. Democracy in America ..................\r..................\r..................\r..172

Declaration of Sentiments b\f the Seneca Falls Conference ..................\r............172

Douglass, Frederick. “What to the Slave Is the Fourth of Jul\f?: An Address Delivered in Rochester, New York, on 5 Jul\f 1852.” ................173

An American Primer. Edited b\f Daniel J. Boorstin ..................\r..................\r............175

Lagemann, Ellen Condliffe. “Education.” ..................\r..................\r..................\r.............175

McPherson, James M.\r What They Fought For 1861–1865 ..................\r..................\r175

The American Reader:\n Words that Moved a Nation, 2nd \fdition ..................\r...175

Amar, Akhil Reed. America’s Constitution: A Biography ..................\r..................\r.176

McCullough, David. 1776 ..................\r..................\r..................\r..................\r..................\r........ 176

Bell, Julian. Mirror of the World: A New \bistory of Art ..................\r..................\r....176

FedViews b\f the Federal Reserve Bank of San Francisco ..................\r................177

Inform\f\bion\fl t ex\bs: science, m\f\bhem\f\bics, \fnd t echnic\fl subjec\bs ...............179

Paulos, John Allen.\r Innumeracy: Mathematical Illiteracy and Its Consequences ..................\r..................\r..............179

Gladwell, Malcolm. The Tipping Point: \bow Little Things Can Make a Big Difference ..................\r..................\r..................\r..................\r................ 179

T\fson, Neil deGrasse. “Gravit\f in Reverse: The Tale of Albert Einstein’s ‘Greatest Blunder.’” ..................\r..................\r.........179

Calishain, Tara, and Rael Dornfest. Google \backs: Tips & Tools for Smarter Searching, 2nd \fdition ..................\r..................\r.........180

Kane, Gordon. “The M\fsteries of Mass.” ..................\r..................\r..................\r.............180

Fischetti, Mark. “W\rorking Knowledge: Electronic Stabilit\f Control.” ..............181

U.S. General Services Administration. \fxecutive Order 13423: Strengthening Federal \fnvironmental, \fnergy,

and Transportation Management ..................\r..................\r..................\r..................\r.... 181

Kurzweil, Ra\f. “The Coming Merger of Mind and Mach\rine.” ..................\r............182

Gibbs, W. Wa\ft. “Untangling the\r Roots of Cancer.” ..................\r..................\r..........182

Gawande, Atul. “The Cost Conundrum: Health Care Costs in McAllen, Texas.” ..................\r..................\r..................\r............183

s\fmple Perform\fnce t \fsks for Inform\f\bion\fl t ex\bs:

His\bory/ soci\fl s\budies & science, m\f\bhem\f\bics, \fnd t echnic\fl subjec\bs........183 Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

K–1 tex\b exempl\frs

Stories

Minarik, Else Holmelund. Little Bear. Illustrated b\f Maurice Sendak. New York: HarperCollins, 1957. (1957)

From “Birthda\f Soup”

“Mother Bear, Mother Bear, Where are \fou?” calls Little B\rear.

“Oh, dear, Mother Bear is no\rt here, and toda\f is m\f birthda\f.

“I think m\f friends will come, but I do not see \ra birthda\f cake. M\f goodness – no birthda\f cake. What can I do?

The pot is b\f the fire. The water in the pot is ho\rt. If I put somet\rhing in the water, I can make Birthda\f Soup. All m\f

friends like soup.

Let me see what we have. We have carrots and potatoes, peas and tomatoes; I can make soup with carrots, potatoes,

peas and tomatoes.”

So Little Bear begi\rns to make soup in the big \rblack pot. First, Hen comes in. “Happ\f Birthda\f, Little Bear,” she sa\fs.

“Thank \fou, Hen,” sa\fs Little Bear.

Hen sa\fs, “M\f! Something \rsmells good here. Is it in the bi\rg black pot?”

“Yes,” sa\fs Little Bear, “I am making Birt\rhda\f Soup. Will \fou sta\f and have some?”

“Oh, \fes, thank \fou,” sa\fs Hen. And she sit\rs down to wait.

Next, Duck comes in. “Happ\f Birthda\f, Little bear,” sa\fs Duck. “M\f, something smells\r good. Is it in th\re big black

pot?”

“Thank \fou, Duck,” sa\fs Little Bear. “Yes, I am making Bi\rrthda\f Soup. Will \fou sta\f and have some with us?”

“Thank \fou, \fes, thank \fou,” sa\fs Duck. And she si\rts down to wait.

Next, Cat comes in.

“Happ\f Birthda\f, Little Bear,” he sa\fs.

“Thank \fou, Cat,” sa\fs Little Bear. “I hope \fou like Birthda\f Soup. I am making Birth\rda\f Soup.

Cat sa\fs, “Can \fou reall\f cook? If \fou can reall\f make it, I will eat it.”

“Good,” sa\fs Little Bear. “The Birthda\f Soup is hot, so w\re must eat it now. We cannot wait for Mother Bear. I do not

know where she is.”

“Now, here is some soup for \fou, Hen,” sa\fs Little Bear. “And here is some soup for \fou, Duck, and here is some soup

for \fou, Cat, and here is some soup for me. Now we can all have some Birthda\f Soup.”

Cat sees Mother Bear \rat the door, and sa\fs, “Wait, Little Bear. Do not eat \fet. Shut \four e\fes, and sa\f one, two,

three.”

Little Bear shuts h\ris e\fes and sa\fs, “One, two, three.”

Mother Bear comes in with a big\r cake.

“Now, look,” sa\fs Cat.

“Oh, Mother Bear,” sa\fs Little Bear, “what a big beautiful \rBirthda\f Cake! Birthda\f Soup is good to eat, but not as

good as Birthda\f Cake. I am so happ\f \fou did not forget.” Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

“Yes, Happ\f Birthda\f, Little Bear!” sa\fs Mother Bear. “This Birthda\f Cake is a surprise for \fou. I never did forget \four

birthda\f, and I never will.”

DAK. Used b\f permission of HarperCollins Publishers.

Eastman, P. D. Are You My Mother? New York: Random House, 1960. (1960)

A mother bird sat on her egg.

The egg jumped.

“Oh oh!” said the m\rother bird. “M\f bab\f will be here! He will want to eat.”

“I must get something for m\f bab\f bird to eat!” she said. “I w\rill be back!”

So awa\f she went.

L. \fastman. Used by permission of Random \bouse Children’s Books, a division of Random \bouse, Inc.

Seuss, Dr. Green \fggs and \bam . New York: Random House, 1960. (1960)

Lopshire, Robert. Put Me in the Zoo. New York: Random House, 1960. (1960)

I will go into the zoo.

I want to see it.

Yes, I do.

I would like to live this wa\f.

This is where I want to sta\f.

Will \fou keep me in the zoo?

I want to sta\f in here with \fou.

sion of Random \bouse Children’s Books, a division of Random \bouse, Inc. All rights r\neserved. Any additional use of

this text, such as for classroom use or curricul\num development, requires independent permission from Random \bouse,

Inc.

Ma\fer, Mercer. A Boy, a Dog and a Frog. New York: Dial, 2003. (1967)

This is a wordless book appropriate for kindergarten.

Lobel, Arnold. Frog and Toad Together. New York: HarperCollins, 1971. (1971)

From “The Garden”

Frog was in his garden. Toad came walking b\f.

“What a fine garden \fou have, Frog,” he said.

“Yes,” said Frog. “It is ver\f nice, but it was hard work.”

“I wish I had a gar\rden,” said Toad.

“Here are some flower seeds. Plant th\rem in the ground,” said Frog, “and soon \fou will have a garden.”

“How soon?” asked Toad.

“Quite soon,” said Frog.

Toad ran home. He planted the flower seeds. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

“Now seeds,” said Toad, “start growing.”

Toad walked up and down a few times. The seeds did not start to grow. Toad put his head clo\rse to the ground and

said loudl\f, “Now seeds, start growing!” Toad looked at the ground again. The seeds did not start to grow.

Toad put his head ver\f close to the ground and shouted, “NOW SEEDS, START GROWING!”

Frog came running up \rthe path. “What is all this nois\re?” he asked. “M\f seeds will \rnot grow,” said Toad. “You are

shouting too much,” said Frog. “These poor seeds are afraid to grow.”

“M\f seeds are afraid to grow?” asked Toad.

“Of course,” said Frog. “Leave them alone for a few da\fs. Let the sun shine o\rn them, let the rain fall on them. Soon\r

\four seeds will start to grow.”

That night, Toad looked out of his windo\rw. “Drat!” said Toad. “M\f seeds have not started to grow. The\f must be

afraid of the dark.”

Toad went out to his garden with some candle\rs. “I will read the seeds a stor\f,” said Toad. “Then the\f will not be

afraid.” Toad read a long stor\f to his seeds.

All the next da\f Toad sang songs to his seeds.

And all the next da\f Toad read poems to his seeds.

And all the next da\f Toad pla\fed music for his seeds.

Toad looked at the ground. The seeds still did not start to grow. “What shall I do?” cried Toad. “These must be the

most frightened seeds in the w\rhole world!”

Then Toad felt ver\f tired and he fell asleep.

“Toad, Toad, wake up,” said Frog. “Look at \four garden!”

Toad looked at his garden. Little green plants were coming up out of th\re ground.

“At last,” shouted Toad, “m\f seeds have stopped being afraid to grow!”

“And now \fou will have a nice garden too,” said Frog.

“Yes,” said Toad, “but \fou were right, Frog. It was ver\f hard work.”

Lobel, Arnold. Owl at \bome. New York: HarperCollins, 1975. (1975)

From “Owl and the Moon\o”

One night Owl went down to the seashore. He sat on a large rock and looked out at the waves. Ever\fthing was dark.

Then a small tip of\r the moon came up o\rver the edge of the \rsea.

Owl watched the moon. It \rclimbed higher and h\righer into the sk\f. Soon the whole, round moon was shining. Owl s\rat

on the rock and looked up at the moon for a long time. “If I am lookin\rg at \fou, moon, then \fou must be looking back

at me. We must be ver\f good friends.”

The moon did not ans\rwer, but Owl said, “I \rwill come back and see \fou again, moon. B\rut now I must go home.” Owl

walked down the path. He looked up at the sk\f. The moon was still there. It was following him.

“No, no, moon,” said Owl. “It is\r kind of \fou to light m\f wa\f. But \fou must sta\f up over the sea where \fou look so

fine.” Owl walked on a little farther. He looked at the sk\f again. There was the moon coming right along w\rith him.

“Dear moon,” said Owl, “\fou reall\f must not come home with me. M\f house is smal\rl. You would not fit through the

door. And I have nothing to give \fou for supper.”

Owl kept on walking. The moon sailed after him over the tops of the trees. “Moon,” said Owl, “I thin\rk that \fou do not

hear me.” Owl climbed to the top of a hill. He \rshouted as loudl\f as he c\rould, “Good-b\fe, moon!”

The moon went behind some clo\ruds. Owl looked and looked. The moon was gone. “It is alwa\fs a little sad to sa\f

good-b\fe to a friend,” said Owl. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Owl came home. He put on his p\rajamas and went to bed. The room was ver\f dark. Owl was still feeling sad. All at

once, Owl’s bedroom was filled with silver light. Owl look\red out of the windo\rw. The moon was coming from behind

the clouds. “Moon,\r \fou have followed me all the wa\f home. What a good, round friend \fou are!” said Owl.

Then Owl put his he\rad on the pillow and closed his e\fes. The moon was shining down through the window. Owl did

not feel sad at all.

DePaola, Tomie. Pancakes for Breakfast . New York: Houghton Mi\bflin, 1978. (1978)

This is a wordless book appropriate for kindergarten.

Arnold, Tedd. \bi! Fly Guy. New York: Scholastic, 2006. (2006)

From Chapter 1

A fl\f went fl\fing.

He was looking for something to eat—something tast\f, something slim\f.

A bo\f went walking

He was looking for something to catch—something smart,\r something for The Amazing Pet Show.

The\f met.

The bo\f caught the fl\f in a\r jar.

“A pet!” He said.

The fl\f was mad.

He wanted to be free.

He stomped his foot and said—Buzz!

The bo\f was surprised.

He said, “You know m\f name! You are the smartest pet in the world!”

mission.

Poetr\f

Anon\fmous. “As I Was Going to St. Ives.” The Oxford Dictionary of Nursery Rhymes. Edited b\f Iona and Peter Opie.

Ox\bord: Ox\bord Universit\f Press, 1997. (c1800, traditional)

As I was going to St. Ives,

I met a man with s\reven wives,

Each wife had seven sacks,

Each sack had seven cats,

Each cat had seven kits:

Kits, cats, sacks, and wives,

How man\f were there going to St. Ives?

Rossetti, Christina. “Mix a Pancake.” Read-Aloud Rhymes for the Very Young . Selected b\f Jack Prelutsk\f. Illustrated

b\f Marc Brown. New York: Knop\b, 1986. (1893)

Mix a pancake,

Stir a pancake,

Pop it in the pan;

Fr\f the pancake,

Toss the pancake—

Catch it if \fou can. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

F\fleman, Rose. “Singing-Time.” Read-Aloud Rhymes for the Very Young . Selected b\f Jack Prelutsk\f. Illustrated b\f

Marc Brown. New York: Knop\b, 1986. (1919)

I wake in the morning ea\rrl\f

And alwa\fs, the ver\f first thing,

I poke out m\f head and I sit up \rin bed

And I sing and I si\rng and I sing.

Milne, A. A. “Hal\bwa\f Down.” When We Were Very Young. Illustrated b\f Ernest H. Shepard. New York: Dutton, 1988.

(1924)

Chute, Marchette. “Drinking Fountain.” Read-Aloud Rhymes for the Very Young . Selected b\f Jack Prelutsk\f.

Illustrated b\f Marc Brown. New York: Knop\b, 1986. (1957)

When I climb up

To get a drink,

It doesn’t work

The wa\f \fou’d think.

I turn it up,

The water goes

And hits me right

Upon the nose.

I turn it down

To make it small

And don’t get an\f

Drink at all.

From Around and About by Marchette Chute, published 1957 by \f.P. Dutton. Copyright renewed by Marchette Chute,

1985. Reprinted by permission of \flizabeth \bauser.

Hughes, Langston. “Poem.” The Collected Poems of Langston \bughes . New York: Knop\b, 1994. (1958)

Ciardi, John. “Wouldn’t You?” Read-Aloud Rhymes for the Very Young . Selected b\f Jack Prelutsk\f. Illustrated b\f

Marc Brown. New York: Knop\b, 1986. (1961)

If I

Could go

As high

And low

As the wind

Can blow—

I’d go!

Wright, Richard. “Laughing Bo\f.” Winter Poems. Selected b\f Barbara Rogask\f. Illustrated b\f Trina Schart H\fman.

New York: Scholastic, 1994. (1973) [Note: This poem was originall\f titled “In the Falling Snow.”]

Greenfield, Eloise. “B\f M\fsel\b.” \boney, I Love, and Other Love Poems . Illustrated b\f Leo and Diane Dillon. New York:

Crowell, 1978. (1978)

Giovanni, Nikki. “Covers.” The 20th Century Children’s Poetry Treasury . Selected b\f Jack Prelutsk\f. Illustrated b\f

Meilo So. New York: Knop\b, 1999. (1980)

Glass covers windows

to keep the cold awa\f

Clouds cover the sk\f

to make a rain\f da\f Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Nighttime covers

all the things t\rhat creep

Blankets cover me

when I’m asleep

Merriam, Eve. “It Fell in the Cit\f.” Read-Aloud Rhymes for the Very Young . Selected b\f Jack Prelutsk\f. Illustrated b\f

Marc Brown. New York: Knop\b, 1986. (1985)

Lopez, Alonzo. “Celebration.” Song and Dance. Selected b\f Lee Bennett Hopkins. Illustrated b\f Cher\fl Munro

Ta\flor. New York: Simon & Schuster, 1997. (1993)

I shall dance tonight. \r \r \r \r

When the dusk comes crawling, \r \r \r

There will be dancing

and feasting. \r \r \r \r

I shall dance with the others \r

in circles,

in leaps,

in stomps. \r \r \r

Laughter and talk \r \r \r \r \r \r

Will weave into the night, \r \r \r \r

Among the fires \r \r \r \r \r

of m\f people. \r \r \r \r

Games will be pla\fed \r \r \r \r

And I shall be \r \r \r \r \r

a part of it.

sion of Doubleday, a division of Random \bouse, Inc. All rights r\neserved. Any additional use of this text, such as for

classroom use or curricul\num development, requires independent permission from Random \bouse, Inc.

Agee, Jon. “Two Tree Toads.” Orangutan Tongs. New York: H\fperion, 2009. (2009)

A three-toed tree toad tried to tie

A two-toed tree toad’s shoe.

But t\fing two-toed shoes is hard

For three-toed toads to do,

Since three-toed shoes each have three toes,

And two-toed shoes have two.

“Please tie m\f two-toed tree toad shoe!”

The two-toed tree toad cried.

“I tried m\f best. Now I must go,”

The three-toed tree toad sighed.

The two-toed tree toad’s two-toed shoe,

Alas, remained untied.

Disney Book Group LLC, All Rights Reser\nved. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Read-Aloud Stories

Baum, L. Frank. The Wonderful Wizard of Oz . Illustrated b\f W. W. Denslow. New York: HarperCollins, 2000. (1900)

From Chapter 1: “The C\fclone”

Doroth\f lived in the midst of the great Kansas prairies, with Uncle Henr\f, who was a farmer, and Aunt Em, who was the

farmer’s wife. Their house was small, for the lumber to build it had to be carried b\f wagon man\f miles. There were four

walls, a floor and a roof, which made one room; and this room contained a rust\f looking cookstove, a cupboard for the

dishes, a table, three or four chairs, and the beds. Uncle Henr\f and Aunt Em had a big bed in one corner, and Doroth\f a

little bed in another corner. There was no garret at all, and no cellar—except a small hole dug in the ground, called a c\f -

clone cellar, where the famil\f could go in case one of those great whirlwinds arose, might\f enough to crush an\f building

in its path. It was reached b\f a trap door in the middle of the floor, from which a ladder led down into the small, dark hole.

When Doroth\f stood in the doorwa\f and looked around, she could see nothing bu\rt the great gra\f prairie on ever\f

side. Not a tree nor a house broke the broad sweep of flat countr\f that reached to the edge of the s\rk\f in all direc-

tions. The sun had baked the plowed land into a gra\f mass, with little cracks running through it. Even the grass was

not green, for the sun had burne\rd the tops of the long bl\rades until the\f were the same gra\f color to be seen ever\f -

where. Once the house had bee\rn painted, but the sun bli\rstered the paint and th\re rains washed it awa\f, and now the

house was as dull and gra\f as ever\fthing else.

When Aunt Em came there to live she was a \foung, prett\f wife. The sun and wind had \rchanged her, too. The\f had

taken the sparkle from her e\fes and left them a \rsober gra\f; the\f had taken the red from her cheeks and li\rps, and

the\f were gra\f also. She was thin and gaunt, \rand never smiled now. When Doroth\f, who was an orphan, first came to

her, Aunt Em had been so \rstartled b\f the child’s laughter that she would scream and press her hand upon her \rheart

whenever Doroth\f’s merr\f voice reached her ears; and \rshe still looked at the little girl w\rith wonder that she could find

an\fthing to laugh at.

Uncle Henr\f never laughed. He worked hard from morning till nig\rht and did not know what jo\f was. He was gra\f also,

from his long beard to his rough boots, and he \rlooked stern and solemn, and \rrarel\f spoke.

It was Toto that made Doroth\f laugh, and saved her from growing as gra\f as her other surroundings. Toto was not

gra\f; he was a little black d\rog, with long silk\r\f hair and small bla\rck e\fes that twinkled merril\f o\rn either side of hi\rs

funn\f, wee nose. Toto pla\fed all da\f long, and Doroth\f pla\fed with him, and lo\rved him dearl\f.

Toda\f, however, the\f were not pla\fing. Uncle Henr\f sa\rt upon the doorstep and looked anxiousl\f at the sk\f, which

was even gra\fer than usual. Doroth\f stood in the door with\r Toto in her arms, and l\rooked at the sk\f too. Aunt Em was

washing the dishes. \r

Wilder, Laura Ingalls. Little \bouse in the Big Woods . Illustrated b\f Garth Williams. New York: HarperCollins, 2007.

(1932)

From “Two Big Bears”

The Stor\f of Pa and the Bear in t\rhe Wa\f

When I went to town \festerda\f with the furs I f\round it hard walking in the soft\r snow. It took me a long time\r to get

to town, and other men w\rith furs had come in earlier to do their trading. The storekeeper was bus\f, and I had to wait

until he could look at m\f furs.

Then we had to bargain about the pric\re of each one, and then I had to pick out the thin\rgs I wanted to take in trade.

So it was nearl\f sundown before I could start home.

I tried to hurr\f, but the walking was hard and I was tired, so I had not go\rne far before night came. And I was alone in

the Big Woods without m\f gun.

There were still six miles to walk, and I came alo\rng as fast as I could. The night grew darker and darker, and I wished

for m\f gun, because I kn\rew that some of the bears\r had come out of their wi\rnter dens. I had seen \rtheir tracks when I

went to town in the morning.

Bears are hungr\f and cross at this time of \fear; \fou know the\f have been sleeping in\r their dens all win\rter long with

nothing to eat, and that makes them thin and an\rgr\f when the\f wake up. I did not want to meet one.

I hurried along as \b\ruick as I could in the dark. B\f and b\f the stars gave a little light. \rIt was still black as pitch where

the woods were thick, but in the\r open places I could see, diml\f. I could see the snow\f road ahead a little \rwa\f, and I

could see the dark woods standing all around me. I was glad when I came\r into an open place where the stars gave me

this faint light. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

All the time I was watching, as well as I could, for bears. I was listening for the sounds the\f make when the\f go care-

lessl\f through the bushes.

Then I came again in\rto an open place, and there, right in the middl\re of m\f road, I saw a big black bear.

Atwater, Richard and Florence. Mr. Popper’s Penguins. Illustrated b\f Robert Lawson. New York: Little, Brown, 1988.

(1938)

From Chapter 1: “Stillwater”

It was an afternoon in late September. In the pleasant \rlittle cit\f of Stillwater, Mr. Popper, the house painter was going

home from work.

He was carr\fing his buckets, his ladders, an\rd his boards so that he had rather a hard time moving along. He was spat-

tered here and there with paint and ca\rlcimine, and there were bits of wallpaper clinging t\ro his hair and whis\rkers, for

he was rather an untid\f man. \r

The children looked up from their pla\f to smile at him as he passed, and the housewives, seeing him, sa\rid, “Oh dear,

there goes Mr. Popper. I must remember to ask John to have the house painted over in the spring.”

No one knew what went on inside of Mr\r.Popper’s head, and no one \rguessed that he would one da\f be the most fa-

mous person in Stillwater.

He was a dreamer. Even when he was busiest smoothing down the paste on the wallpaper, or painting the o\rutside of

other people’s houses, he would forget what he was doing. Once he had painted three sides of a kitchen green, and

the other side \fellow. The housewife, instead of being angr\f a\rnd making him do it\r over, had liked it so well that she

had made him leave it that wa\f. And all the other\r housewives, when the\f saw it, admired it too, so that prett\f soon

ever\fbod\f in Stillwater had two-colored kitchens.

The reason Mr. Popper was so absent-minded\r was that he was alwa\fs dreaming about far-awa\f countries. He had

never been out of Stillwater. Not that he was unhapp\f. He had a nice little house of \rhis own, a wife whom he loved

dearl\f, and two children, named Janie and\r Bill. Still, it would have been nice, he often thought, if he \rcould have seen

something of the w\rorld before he met Mrs. Popper and settled do\rwn. He had never hunted tigers in India, \ror climbed

the peaks of the H\rimala\fas, or dived for pearls in the So\ruth Seas. Above all, he had never seen the Poles.

Jansson, Tove. Finn Family Moomintroll . Translated b\f Elizabeth Portch. New York: Farrar, Straus and Giroux, 1990.

(1948)

From “Pre\bace”

One gre\f morning the first snow began to fall in the Valle\f of the Moomins. I\rt fell softl\f and \buiet\rl\f, and in a few hours

ever\fthing was white.

Moomintroll stood on his doorstep and watched the valle\f nestle beneath its winter blanket. “Tonight,” he thought,

“we shall settle down for our long winter’s sleep.” (All Moomintrolls go to sleep about November. This is a good idea,\r

too if \fou don’t like the cold and the long wi\rnter darkness.) Shutting the do\ror behind him, Moom\rintroll stole in to his

mother and said:

“The snow has come!”

“I know,” said Moominmamma.\r “I have alread\f made up all \four beds with the w\rarmest blankets. You’re to sleep in the

little room under the eaves with Sniff.”

“But Sniff snores so horribl\f,” said Moomintroll. “Couldn’t I sleep wit\rh Snufkin instead?”

“As \fou like, dear,” said Moominmamma.\r “Sniff can sleep i\rn the room that faces east.”

So the Moomin famil\f, their friends, and\r all their ac\buaintances began solemnl\f a\rnd with great ceremon\f to prepare

for the long winter. Moominmamma laid \rthe table for them on the verandah but the\f onl\f had pine-need\rles for sup-

per. (It’s important to have \four tumm\f full of pine if \f\rou intend to sleep all the wi\rnter.) When the meal w\ras over,

and I’m afraid it didn’t taste ver\f nice, the\f all said good-nigh\rt to each other, rather more cheerfull\f than us\rual, and

Moominmamma encouraged them to clean their teeth.

Hale\f, Gail E. A Story, A Story . New York: Atheneum, 1970. (1970)

Once, oh small children round m\f knee, there were no stories on earth to hear. All the stories belonged to N\fame, the Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Sk\f God. He kept them in a golde\rn box next to his ro\fal stool.

Ananse, the Spider Man, w\ranted to bu\f the Sk\f God’s stories. So he spun \ra web up to the sk\f.

When the Sk\f God heard what Ananse wanted, he laughed: “Twe, twe, twe. The price of m\f stories is that \fou bring

me Osebo the leopa\rrd of-the-terrible-teeth, Mmboro the hornet who-stings-like-fire, and Mmoatia the fair\f whom-

men-never-see.”

Ananse bowed and answered: “I shall gladl\f \rpa\f the price.”

“Twe, twe, twe,” chuckled the Sk\f God. “How can a weak old man like \fou, so small, so s\rmall, so small, pa\r\f m\f price?”

But Ananse merel\f climbed down to earth to find the things th\rat the Sk\f God demanded.

Ananse ran along the jungl\re path – \firidi, \firidi, \r\firidi – till he cam\re to Osebo the leopard-of-the-terrible-teeth.

“Oho, Ananse,” said the leopard, “\fou are just in time to be m\f lunch.”

Ananse replied: “As for that, what will happen will\r happen. But first let us pla\f the binding bindin\rg game.”

The leopard, who was fond of games, asked: “How is it pla\fed?”

“With vine creepers,” explained Ananse. “I will bind \fou b\f \four foot and foot. Then I will untie \fou, and \fou can tie

me up.”

“Ver\f well,” growled the leopard, who planned to eat Ananse as soon a\rs it was his turn to bind him.

So Ananse tied the \rleopard

b\f his foot

b\f his foot, with the vine\r creeper.

Then he said: “Now, Osebo, \fou are read\f to meet the Sk\f God.” And he hung the\r tied leopard in a tree in the jungle.

Reprinted with the permission of Atheneum Books for Young Readers, an imp\nrint of Simon & Schuster Children’s Pub-

Bang, Moll\f. The Paper Crane . New York: Greenwillow, 1987. (1985)

A man once owned a restaurant on a bus\f road. He loved to cook good food and he loved to serve it. He worked

from morning until ni\rght, and he was happ\f.

But a new highwa\f was built close b\f. Travelers drove straight from one place to another and no lo\rnger stopped at

the restaurant. Man\f da\fs went b\f when no guests came at all. The man became ver\f poor, and had nothing t\ro do

but dust and polish his em\rpt\f plates and tables.

One evening a stranger came into the restaurant. His clothes w\rere old and worn, but he had an \runusual, gentle ma\rn-

ner.

Though he said he ha\rd not mone\f to pa\f for food, the owner invited him to sit down. He cooked the best meal he

could make and served him like a king. When th\re stranger had finished, h\re said to his host, “I cannot pa\f \fou with

mone\f, but I would like to thank \fou in m\f own wa\f.”

He picked up a paper napki\rn from the table and folded it into the shape of a cr\rane. “You have onl\f to clap \four

hands,” he said, “and this bird will come to life and dance for \fou. Take it, and enjo\f it while it is wi\rth \fou.” With

these words the stranger left.

It happened just as the stranger had said. The owner had onl\f to clap his hands an\rd the paper crane became a living\r

bird, flew down to the floor, and danced. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Soon word of the dancing crane spread, and people came\r from far and near to see the magic bir\rd perform.

The owner was happ\f again, for his restaurant was alwa\fs full of guests. He cooked and served and had compan\f

from morning until ni\rght.

The weeks passed. And the month\rs.

One evening a man came in\rto the restaurant. His clothes w\rere old and worn, but had an unu\rsual, gentle manne\rr. The

owner knew him at once and was overjo\fed.

The stranger, however, said nothing. He\r took a flute from his pocket, raised it to his lips, and beg\ran to pla\f.

The crane flew down from its place on the shelf and \rdanced as it had never danced before.

The stranger finished pla\fing, lowered the flute from his lips, and returned it to his pocket. He climbed on the back of

the crane, and the\f flew out of the door and awa\f.

The restaurant still stands b\f the side of the road, and guests still come to eat the good food and hear the stor\f of

the gentle stranger and the magic \rcrane made from a paper napkin. \r But neither the stranger nor the dancin\rg crane

has ever been seen again.\r

Young, Ed. Lon Po Po: A Red-Riding \bood Story from China . New York: Putnam, 1989. (1989)

“Po Po,” Shang shouted, but there was no answer.

“Po Po,” Tao shouted, but there was no answer.

“Po Po,” Paotze shouted. There was still no answer. The children climbed to the branches just above the wolf and saw

that he was trul\f dead. Then the\f climbed down, went into the house, closed the door, locked the door with the\r latch

and fell peacefull\f asleep.

On the next da\f their mother returned with baskets of food from their real Po Po, and the three sisters told her the

stor\f of the Po Po who had come.

Garza, Carmen Lomas. Family Pictures. San Francisco: Children’s Book Press, 1990. (1990)

From “The Fair in Re\fnosa”

M\f friends and I once went to a ver\f big fair across the border in Re\fnosa, Mexico. The fair lasted a whole week.

Artisans and entertainers came from all over Mexico. There were lots of booths w\rith food and crafts. This is one little \r

section where ever\fbod\f is ordering and eating tacos.

I painted a father bu\fing tacos and the rest of the famil\f sitting down at the table. The little girl is t\rhe father’s favorite

and that’s wh\f she gets to tag along with h\rim. I can alwa\fs recognize little girls who \rare their fathers’ favorites.

From “Birthda\f Part\f”

That’s me hitting the p\riñata at m\f sixth birthda\f part\f. It was also m\f brother’s fourth birthda\f. M\f mother made a

big birthda\f part\f for us and invited all kinds of frie\rnds, cousins and neighbor\rhood kids.

You can’t see the pi\rñata when \fou’re tr\fing to hit it, because \f\rour e\fes are covered with a handkerchief. M\f father

is pulling the rope that makes the piñata go up and down. He will make sure that ever\fbod\f has a chance to hit it at

least once. Somebod\f will end \rup breaking it, and that’s when all the cand\ries will fall out and all the\r kids will run and

tr\f to grab them.

Reprinted with permission of the publisher, Children’s Book Press. \fxcerpts from Family Pictures/Cuadros de Familia

Mora, Pat. Tomás and the Library Lady . Illustrated b\f Raúl Colón. New York: Knop\b, 1997. (1997)

When the\f got hot, the\f sat under a tree with Papá Grande. “Tell us the stor\f about the man i\rn the forest,” said

Tomás. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Tomás liked to listen to Papá Grande tell stories in Spanish. P\rapá Grande was the best stor\fteller in the famil\f.

“\fn un tiempo pasado,” Papá Grande began. “Once upon a time…on a wind\f night a \rman was riding a horse th\rrough a

forest. The wind was howling, whoooooooo, and the leaves were blowing, whish, whish\r…

“All of a sudden som\rething grabbed the man. He c\rouldn’t move. He was too scared to look around. All night lon\rg he

wanted to ride awa\f. But he couldn’t.

“How the wind howled, whoooooooo. How the leaves blew. How his teeth chattered!

“Finall\f the sun ca\rme up. Slowl\f the man turned a\rround. And who do \fou think was holding him?

Tomás smiled and sai\rd, “A thorn\f tree.”

Papá Grande laughed. “Tomás, \fou know all m\f stories,” he said. “There are man\f more in the librar\f. You are big

enough to go b\f \fourself. Then \fou can teach us new stories.”

The next morning Tomás walked downtown. He looked at the big librar\f. Its tall windows were like e\fes glaring at him.

Tomás walked all around the big buildi\rng. He saw children coming out carr\fing b\rooks. Slowl\f he started climbing up,

up the steps. He counted them to himself in Spani\rsh. Uno, dos, tres, cuatro…His mouth felt full of cotton.

Tomás stood in front of the librar\f doors. He pressed his nose agains\rt the glass and peeked in. The librar\f was huge!

Raúl Colón. Used by permission of Alfred A. Knopf, an imprint of Random \bouse Children’s Books, a division of Ran-

dom \bouse, Inc. All rights r\neserved. Any additional use of this text, such as for classroom use or curricul\num develop-

ment, requires independent permission from Random \bouse, Inc.

Henkes, Kevin. Kitten’s First Full Moon . New York: Greenwillow, 2004. (2004)

It was Kitten’s first full moon.

When she saw it, she thought.\r

There’s a little bowl of milk in the \rsk\f.

And she wanted it.

So she closed her e\fes

and stretched her neck

and opened her mouth\r and licked.

But Kitten onl\f ended up

with a bug on her t\rongue.

Poor Kitten!

Still, there was the little bowl of milk, just waiting.

So she pulled herse\rlf together

and wiggled her bott\rom

and sprang from the top step of the porch.

But Kitten onl\f tumbled—

bumping her nose an\rd banging her ear

and pinching her tai\rl.

Poor Kitten!

Still, there was the little bowl of milk, just waiting.

So she chased it—

down the sidewalk,

through the garden,

pa\rst the field,

\r and b\f the pond.

But Kitten never seemed to get closer.

Poor Kitten!

Still, there was the little bowl of milk, just waiting. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

So she ran

to the tallest tree

she could find,

and she climbed

and climbed

to the ver\f top.

But Kitten

still couldn’t reach

the bowl of milk,

and now she was

scared.

Poor Kitten!

What could she do?

Then, in the pond, K\ritten saw

another bowl of milk.

And it was bigger.

What a night!

So she raced down the tree

and raced through the grass

and raced to the edge of the p\rond.

She leaped with all\r her might—

Poor Kitten!

She was wet and sad and tired

and hungr\f.

So she went

back home—

and there was

a great big

bowl of milk

on the porch,

just waiting for her.

Luck\f Kitten!

Read-Aloud Poetr\f

Anon\fmous. “The Fox’s Fora\f.” The Oxford Nursery Rhyme Book . Edited b\f Peter and Iona Opie. Ox\bord: Ox\bord

Universit\f Press, 1955. (c1800, traditional)

A fox jumped out one wi\rnter’s night,

And begged the moon\r to give him light.

For he’d man\f miles to trot that night

Before he reached his den O!

Den O! Den O!

For he’d man\f miles to trot that night before he reached his den O!

The first place he came to was a farmer’s \fard,

Where the ducks and the \rgeese declared it hard

That their nerves should be shaken and their rest so marred

B\f a visit from Mr. Fox O!

Fox O! Fox O! Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

That their nerves should be shaken and their rest so marred

B\f a visit from Mr. Fox O!

He took the gre\f goose b\f the neck,

And swung him right across his back;

The gre\f goose cried out, Q\ruack, \buack, \buack,

With his legs hangi\rng dangling down O!

Down O! Down O!

The gre\f goose cried out, Q\ruack, \buack, \buack,

With his legs hangi\rng dangling down O!

Old Mother Slipper S\rlopper jumped out o\rf bed,

And out of the wind\row she popped her he\rad:

Oh, John, John, th\re gre\f goose is gone,

And the fox is off to his den O!

Den O! Den O!

Oh, John, John, th\re gre\f goose is gone,

And the fox is off to his den O!

John ran up to the top of the hill.

And blew his whistle loud and shrill;\r

Said the fox, That is ver\f prett\f music still –

I’d rather be in m\f den O!

Den O! Den O!

Said the fox, That is ver\f prett\f music still –

I’d rather be in m\f den O!

The fox went back to his hungr\f den,

And his dear little \rfoxes, eight, nine, ten;

Quoth the\f, Good dadd\f, \fou must go there again,

If \fou bring such god ch\reer from the farm O!

Farm O! Farm O!

Quoth the\f, Good dadd\f, \fou must go there again,

If \fou bring such god ch\reer from the farm O!

The fox and his wife, without an\f strife,

Said the\f never ate a better goose in all the\rir life:

The\f did ver\f well without fork or knife,

And the little ones\r chewed on the bones O!

Bones O! Bones O!

The\f did ver\f well without fork or knife,

And the little ones\r chewed on the bones O!

Langsta\b\b, John. Over in the Meadow . Illustrated b\f Feodor Rojankovsk\f. Orlando: Houghton Mi\bflin, 1973. (c1800,

traditional)

Over in the meadow in a new little hive

Lived an old mother \bue\ren bee and her hone\r\fbees five.

“Hum,” said the mother,

“We hum,” said the five;

So the\f hummed and were glad in their new little hive.

Over in the meadow in a dam built of\r sticks

Lived an old mother bea\rver and her little be\ravers six.

“Build,” said the mother,

“We build,” said the six;

So the\f built and were glad in the dam b\ruilt of sticks.

Over in the meadow in the green wet bogs

Lived an old mother froggie and her seven polliwogs.

“Swim,” said the mother.

“We swim,” said the ‘wogs;

So the\f swam and were glad in the green wet bogs.

Over in the meadow as the da\f grew late

Lived an old mother owl and her little o\rwls eight. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

“Wink,” said the mother,

“We wink,” said the eight;

So the\f winked and were glad as the da\f grew late.

Lear, Edward. “The Owl and the Puss\fcat.” (1871)

The Owl and the Puss\f-cat went to sea

In a beautiful p\rea-green boat,

The\f took some hone\f, and plent\f of mon\re\f,

Wrapped up in a five-pound note.

The Owl looked up to the stars above,

And sang to a small guitar,

‘O lovel\f Puss\f! O Puss\f, m\f love,

What a beautiful Puss\f \fou are,

You are,

You are!

What a beautiful Puss\f are!’

Puss\f said to the Owl, ‘You elegant fowl!

How charmingl\f sweet \fou sing!

O let us be married!\r Too long we have tarried:

But what shall we do for a ring?’

The\f sailed awa\f, for a \fear and a da\f,

To the land where the Bong-tree grows

And there in a wood a Pigg\f-wig stood

With a ring at the end of his no\rse,

His nose,

With a ring at the end of his no\rse.

‘Dear Pig, are \fou willing to sell for one shilling

Your ring?’ Said the \rPigg\f, ‘I will.’

So the\f took it awa\f, and were married next da\f

B\f the turke\f who lives on the hill.

The\f dined on mince, and slices of \buince,

Which the\f ate with a runcible s\rpoon;

And hand in hand, on\r the edge of the sa\rnd,

The\f danced b\f the light of the \rmoon,

The moon,

The\f danced b\f the light of the \rmoon.

Hughes, Langston. “April Rain Song.” The 20th Century Children’s Poetry Treasury . Selected b\f Jack Prelutsk\f.

Illustrated b\f Meilo So. New York: Knop\b, 1999. (1932)

Moss, Llo\fd. Zin! Zin! Zin! a Violin . Illustrated b\f Marjorie Priceman. New York: Simon & Schuster, 2000. (1995)

With mournful moan a\rnd silken tone,

Itself alone comes ONE TROMBONE.\r

Gliding, sliding, h\righ notes go low;

ONE TROMBONE is pl\ra\fing SOLO.

Next a TRUMPET comes along,

And sings and stings its swinging song.

It joins TROMBONE,\r no more alone,

And ONE and TWO-O, the\f’re a DUO.

The STRINGS all soar, the REEDS implore,

The BRASSES roar with notes galore.

It’s music that we all adore. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

It’s what we go to concerts for.

The minutes fl\f, the music ends,

And so, good-b\fe to our new friends.

But when the\f’ve bowed and left the floo\rr,

If we clap loud and shou\rt, “Encore!”

The\f ma\f come out and pla\f once more.

And that would give us great delight

Before we sa\f a late good night.

Reprinted with the permission of Simon & Schuster Books for Young Readers, an imp\nrint of Simon & Schuster Chil-

Sample Per\bormance Tasks \bor Stories and Poetr\f

• Students ( with prompting and support from the teacher ) describe the relationship between ke\f events of the

overall story of Little Bear b\f Else Holmelund Minarik to the corresponding scenes illustrated b\f Maurice Sen -

dak. [RL.K.7]

• Students retell Arnold Lobel’s Frog and Toad Together while demonstrating their understanding of a central

message or lesson of the story (e.g., how friends are able to solve problems together or how hard work pa\fs

off). [RL.1.2]

• Students ( with prompting and support from the teacher ) compare and contrast the adventures and experi -

ences of the owl in Arnold Lobel’s Owl at \bome to those of the owl in Edward Lear’s poem “The Owl and the

Puss\fcat.” [RL.K.9]

• Students read two texts on the topic of pancakes (Tomie DePaola’s Pancakes for Breakfast and Christina

Rossetti’s “Mix a Pancake”) and distinguish between the text that is a storybook and the text that is a poem.

[RL.K.5]

• After listening to L. Frank Baum’s The Wonderful Wizard of Oz, students describe the characters of Doroth\f,

Auntie Em, and Uncle Henr\f, the setting of Kansan prairie, and major events such as the arrival of the c\fclone.

[RL.1.3]

• Students ( with prompting and support from the teacher ) when listening to Laura Ingalls Wilder’s Little \bouse

in the Big Woods ask questions about the events that occur (such as the encounter with the bear) and answer

b\f offering key details drawn from the text. [RL.1.1]

• Students identify the points at which different characters are telling the story in the Finn Family Moomintroll b\f

Tove Jansson. [RL.1.6]

• Students identify words and phrases within Moll\f Bang’s The Paper Crane that appeal to the senses and

suggest the feelings of happiness experienced b\f the owner of the restaurant (e.g., clapped, pla\fed, loved,

overjo\fed). [RL.1.4]

In\bormational Texts

Bulla, Cl\fde Robert. A Tree Is a Plant. Illustrated b\f Stace\f Schuett. New York: HarperCollins, 2001. (1960)

A tree is a plant. A \rtree is the biggest plant that grows. Most kinds of trees grow from seeds the wa\f most small

plants do. There are man\f kinds of trees. Here are a few of them. How man\f do \fou know? [illustration is labeled

with Maple, Conifer, Persimmon, Palms, Lemon, Willow] Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

This tree grows in the countr\f. It might grow in \four \fard, too. Do \fou know what kind it is? This is an apple tree.

This apple tree came from a seed. The seed was small. It grew inside an apple. Have \fou ever seen an apple se\red?

Ask an adult to help \fou cut an apple in \rtwo. The seeds are in the center. The\f look like this.

Most apple trees come from seeds that are planted. Sometimes an a\rpple tree grows from a seed that falls to the

ground. The wind blows leaves over the seed. The wind blows soil over the seed.

All winter the seed lies un\rder the leaves and the soil. A\rll winter the seed lies un\rder the ice and snow and is pushed

into the ground. Spring comes. Rain falls. The sun comes out and warms the earth. The seed begins to grow.

At first the \foung plant does not look like a tree. The tree is ver\f small. It is onl\f a stem with two leaves. It has no ap -

ples on it. A tree must grow up before it has apples on it. Each \fear the tree grows. It grows tall. In seven \fears it is so

tall that \fou can stand under its branches. In the spring there are blossoms on the tree. Spring is apple-blossom time.

[…]

We cannot see the roots. The\f are under the ground. Some of the \rroots are large. Some of them are as small as

hairs. The roots grow like branches under the ground. A tree could not live without roots.

Roots hold the trunk\r in the ground. Roots keep the tree from falling when the wi\rnd blows. Roots keep the rain from

washing the tree out of the ground.

Roots do something m\rore. The\f take water from the ground. The\f carr\f the water into the trunk of the \rtree. The

trunk carries the water to the branches. The branches carr\f the water to the leaves.

Hundreds and hundreds of leaves grow on the branches. The leaves make food from water and air. The\f make food

when the sun shine\rs. The food goes into the branches. It goes in\rto the trunk and roots. It goes to ever\f part of the

tree.

Fall comes and winter is near. The work of the leaves is over. The leaves turn \fellow and brown. The leaves die and

fall to the ground.

Now the tree is bare. All winter it looks dead. B\rut the tree is not dead. Un\rder its coat of bark, the tree is alive.

Aliki. My Five Senses . New York: HarperCollins, 1989. (1962)

I can see! I see w\rith m\f e\fes.

I can hear! I hear w\rith m\f ears.

I can smell! I sme\rll with m\f nose.

I can taste! I taste with m\f tongue.

I can touch! I touch with m\f fingers.

I do all this with \rm\f senses.

I have five senses.

When I see the sun\r or a frog or m\f bab\f sister, I use m\f sense of sight. \rI am seeing.

When I hear a drum o\rr a fire engine or a bird, I use m\f sense of hearing.\r I am hearing.

When I smell soap \ror a pine tree or cookies just out of the oven, I use m\f sense of smell. \rI am smelling.

When I drink m\f milk and eat m\f food, I use m\f sense of taste. I am tasting.

When I touch a kitten or a balloon or \rwater, I use m\f sense of touch. I am touching.

Sometimes I use al\rl m\f senses at once.

Sometimes I use on\rl\f one.

I often pla\f a game with m\fself.

I guess how man\f senses I am using\r at that time. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

When I look at the moon and the \rstars, I use one sen\rse. I am seeing.

When I laugh and pl\ra\f with m\f pupp\f, I use four senses. I see, hear, smell, and touch.

When I bounce a ball, I use th\rree senses. I see, hear, touch.

Sometimes I use mo\rre of one sense and \rless of another.

But each sense is v\rer\f important to me, because it makes me aware.

To be aware is to see all there is to see…

hear all there is to hear…

smell all there is to smell…

taste all there is to taste…

touch all there is to touch.

Wherever I go, whatever I do, ever\f minute of the da\f, m\f senses are working.

The\f make me aware.

Hurd, Edith Thacher. Starfish. Illustrated b\f Robin Brickman. New York: HarperCollins, 2000. (1962)

Starfish live in the sea. Starfish live deep down in the sea. Starfish live in pools b\f the sea.

Some starfish are purple. Some starfish are pink.

This is the sunflower starfish. It is the \rbiggest of all. Starfish have man\f arms. The arms are called ra\fs. Starfish have

arms, but no legs.

Starfish have feet, but no toes. The\f glide and slide on\r tin\f tube feet. The\f move as slowl\f as a snail.

The basket star looks like a starfish, but it is a\r little different. It doesn’t ha\rve tube feet. It moves with its ra\fs. It has

ra\fs that go up and ra\fs that go down.

Tin\f brittle stars are like the basket star. The\f hide under rocks in pools b\f the sea.

The mud star hides in the mu\rd. It is a starfish. It has tin\r\f tube feet.

A starfish has no e\fes. A starfish has no ears \ror nose. Its tin\f mouth is on its u\rnderside. When a starfish is hungr\f, it

slides and it glides\r on its tin\f tube feet.

It hunts for mussels and o\fsters and clams. It f\reels for the mussels, It feels for the o\fsters. It feels for the clams. It

feels for something to eat.

The starfish crawls over a clam. Its ra\fs go over it. Its ra\fs go under it. Its\r ra\fs go all over the clam. The starfish pulls

and pulls. It pull\rs the shells open.\r It eats the clam inside.

Sometimes a starfish loses a ra\f. A crab ma\f pull it off. A rock ma\f fall on it. But th\ris does not hurt. \rIt does not

bother the starfish. The starfish just grows another ra\f.

In the spring when \rthe sun shines warm, and the sea grows warm, starfish la\f eggs. Starfish la\f eggs in the water.

The\f la\f man\f, man\f, man\f tin\f eggs. The eggs look like sand in the sea. \r The tin\f eggs float in the water. The\f float

up and down. The\f move with the waves and the tide, up and down, up and down.

Used by permission of \barperCollins Publishers.

Aliki. A Weed is a Flower: The Life of George Washington Carver . New York: Prentice Hall, 1965. (1965)

Crews, Donald. Truck. New York: HarperCollins, 1980. (1980)

This is a largel\f wordless book appropriate for kindergarten. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Hoban, Tana. I Read Signs. New York: HarperCollins, 1987 (1987)

This is a largel\f wordless book appropriate for kindergarten.

Reid, Mar\f Ebelto\bt. Let’s Find Out About Ice Cream . Photographs b\f John Williams. New York: Scholastic, 1996.

(1996)

“Garden Helpers.” National Geographic Young \fxplorers September 2009. (2009)

Not all bugs and worms are pests.

Some help \four garden grow.

Earthworms make soil rich and heal\rth\f.

This helps plants g\rrow strong!

A lad\fbug eats small bugs.

The bugs can’t eat the plants.

This keeps \four garden safe.

A pra\fing mantis eats an\f bug it can catch.

Not man\f bugs can get past this \buick hunter!

This spider catches bugs in its stick\f web.

It keeps bugs awa\f from \four garden.

“Wind Power.” National Geographic Young \fxplorers November/December 2009. (2009)

Wind is air on the m\rove.

See what wind can do.

Wind can whip up som\re fun!

Wind starts with the sun.\r

The sun warms land and water.

The air above warms up too.

Warm air rises.

Cooler air rushes in.\r

That moving air is wind.

Wind is energ\f.

It can push a sailb\roat.

Look at the windmills spi\rn!

The\f turn wind energ\f into electricit\f.

What else can wind do?

Read-Aloud In\bormational Texts

Provensen, Alice and Martin. The Year at Maple \bill Farm. New York: Simon & Schuster, 2001. (1978)

Gibbons, Gail. Fire! Fire! New York: HarperCollins, 1987. (1984)

From “Fire! Fire! In the cit\f…”

In an apartment hou\rse, a breeze has blown a towel up into the flame of a ho\rt stove. A fire begins. The smoke alarm

screams. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

A phone call alerts\r the fire-dispatch center. Instantl\f, a dispatcher calls the firehouse nearest the fire.

A loudspeaker blares out the address of the fire, and the firefighters go into action. The\f slide down brass poles to

the ground floor, where the fire engines are, and hurr\f into their fire-fighting gear. Then the\f take their positions o\rn

their engines.

The big trucks roar out of the firehouse. Sirens scream and lights flash\r.

The fire engines arrive at the scene. The fire is bigger now. The fire chief is in charge. He decides the be\rst wa\f to

fight this fire.

Hoses are pulled from the trucks. Each\r separate fire truck is called a \r“compan\f.” Each separate compan\f has an of-

ficer in charge. The fire chief tells each officer in charge what he wants the firefighters to do.

Firefighters are ordered to search the building to make sure no one is still inside. A man is trapped. A ladder tower is

swung into action. The man is rescued \buickl\f.

At the same time, an aerial ladder i\rs taking other firefighters to the floor above the fire. Inside, the firefighters attach

a hose to the building’s standpipe. Water is spra\fed onto the fire to keep it from moving up through the apartment \r

house.

Now the aerial ladder \ris swung over to the roof of the burning \rbuilding. Firefighters break holes in the roof and win-

dows to let out poisonou\rs gases, heat, and smoke before the\f can cause a bad explosion. There’s less danger now for

the firefighters working inside the b\ruilding.

Firefighters are battling the blaze from the outside of t\rhe building, too. Fire hoses carr\f water from the fire h\fdrants

to the trucks.

Pumps in the fire trucks control the water pressure and push the water up through the discharge hoses. Streams of

water hit the burning \rbuilding and buildin\rgs next door to keep the fire from spreading.

The fire is under control.

The fire is out. The firefighters clean up the rub\rble. Back at the firehouse, the\f clean their e\buipm\rent and make an

official report on the fire.

Dorros, Arthur. Follow the Water from Brook to Ocean . New York: HarperCollins, 1993. (1991)

After the next big rain storm, put \four boots on and go\r outside. Look at the water dripping from \four roof. Watch it

gush out of the drainpipes. You can see water flowing down \four street too.

Water is alwa\fs flowing. It trickles \rin the brook near \four house.

Sometimes \fou see water rushing along in\r a stream or in a big riv\rer.

Water alwa\fs flows downhill. It flows from high places to low places, just the wa\f \fou and \four skateboard move

down a hill.

Sometimes water collects in a low spot in the land \r– a puddle, a pond, or a lake. The water’s downhill journe\f ma\f

end there. Most of the time, though, the water will find a wa\f to keep flowing downhill. Because water flows down-

hill, it will keep flowing until it can’t\r go an\f lower. The lowest parts of the eart\rh are the oceans. Water will keep flow -

ing until it reaches an ocean.

Where does the water start? Where does the water in a brook or a stream or a river come from? The water comes

from rain. And it comes from melting snow. The water from rain and melting sno\rw runs over the ground. Some of it

soaks into the ground, and some water is soaked up b\f trees and other plant\rs. But a lot of t\rhe water keeps traveling

over the ground, flowing downhill.

The water runs along, flowing over the ground. Trickles of water flow together to form a brook. A brook isn’t ver\f

deep or wide. You could easil\f step across a brook to get to the other side.

The brook flows over small stones covered with algae. Algae are tin\f plants. The\f can be green, red, or brown.

Green algae make the water look green. Plop! A frog jumps into the brook. A salamander \rwiggles through leaf\f Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

water plants. Slap! \rA trout’s tail hits the water. Lots of creatures live in the moving water.

Rauzon, Mark, and C\fnthia Overbeck Bix. Water, Water \fverywhere. San Francisco: Sierra Club, 1994. (1994)

Llewell\fn, Claire. \farthworms. New York: Franklin Watts, 2002. (2002)

Jenkins, Steve, and Robin Page. What Do You Do With a Tail Like This? Orlando: Houghton Mi\bflin, 2003. (2003)

What do \fou do with a nose l\rike this?

If \fou’re a plat\fpus, \fou use \four nose to dig in the mud.

If \fou’re a h\fena, \fou find \four next meal with \four nose.

If \fou’re an elephant, \fou use \four nose to give \fourself a bath.

If \fou’re a mole, \fou use \four nose to find \four wa\f underground.

If \fou’re an alligator, \fou breathe through \four nose while hidi\rng in the water.

What do \fou do with ears lik\re these?

If \fou’re a jackrabbit, \fou use \four ears to keep cool.

If \fou’re a bat \fou “see” with \four ears.

If \fou’re a cricket, \fou hear with ears t\rhat are on \four knees.

If \fou’re a humpback whale, \fou hear sounds hundr\reds of miles awa\f.

If \fou’re a hippopotamus, \r\fou close \four ears when \fou’re under water.

What do \fou do with a tail l\rike this?

If \fou’re a giraffe, \fou brush off pesk\f flies with \four tail.

If \fou’re a skunk, \fou lift \four tail to warn that a stink\f spra\f is on the wa\f.

If \fou’re a lizard, \fou break off \four tail to get awa\f.

If \fou’re a scorpion, \four tail can give a nast\f sting.

If \fou’re a monke\f, \fou hang from a tree b\f \four tail.

What do \fou do with e\fes like these?

If \fou’re an eagle, \fou spot tin\f animals from high in the air.

If \fou’re a chameleon, \fou look two wa\fs at once.

If \fou’re a four-e\fe fish, \fou look above and below the water at the same time.

If \fou’re a bush bab\f, \fou use \four large e\fes to see clearl\f at night.

If \fou’re a horned lizard, \fou s\buirt blood out \rof \four e\fes.

What do \fou do with feet like these?

If \fou’re a chimpanzee, \fou feed \fourself with \four feet.

If \fou’re a water strider, \fou walk on water.

If \fou’re a blue-footed boob\f, \fou do a dance.

If \fou’re a gecko, \fou use \four stick\f feet to walk on the ceiling.

If \fou’re a mountain goat, \fou leap from ledge to ledge.

What do \fou do with a mouth \rlike this?

If \fou’re a pelican, \fou use \four mouth as a net \rto scoop up fish.

If \fou’re an egg-eating snake, \fou use \four mouth to swallow eggs larger than \four head.

If \fou’re a mos\buito, \fou use \four mouth to suck blood.

If \fou’re an anteater, \fou capture termites with \four long tongue.

If \fou’re an archerfish, \fou catch insects b\f shooting them down with a stream of water.

by Steve Jenkins and Robin P\nage. Used by Permission of \boughton Mifflin \barcourt Publishing Company. All rights

reserved.

P\be\b\ber, Wend\f. From Seed to Pumpkin . Illustrated b\f James Graham Hale. New York: HarperCollins, 2004. (2004)

When spring winds w\rarm the earth, a farmer plants hundreds of pumpkin seed\rs.

Ever\f pumpkin seed can\r become a bab\f pumpkin plant. U\rnderground, covered with dark, moist soil, the bab\f plants

begin to grow.

As the plants get \rbigger, the seeds crack open. Stems sprout up. Roots dig down. Inside the roots are tubes. Water

travels up these tubes\r the wa\f juice goes up a straw.

In less than two weeks from planting time, green shoots poke up through the earth. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

These shoots grow into tin\f seedlings. Two leaves, called seed leaves, uncurl on each s\rtem. The\f reach up toward

the sun.

Sunlight gives these leaves energ\f to make food. Like us, plants need f\rood to grow. But green plants do not e\rat food

as we do. Their leaves make it.

To make food, plants need li\rght, water, and air. Leaves catch the sunlight. R\roots soak up rainwater. And little open-

ings in the leaves let air in. Usi\rng energ\f from the sun, the le\raves mix the air with\r water from the soil to make sugar.

This feeds the plant.

Soon broad, prickl\f leaves with jagged edge\rs unfold on the stems.

The seed leaves dr\f up. Now the new leaves make food for the pumpkin plan\rt.

Each pumpkin stem has man\f sets of tubes. \rOne tube in each se\rt takes water from the soil up to the leaves so the\f

can make sugar. The other tube in ea\rch set sends food back down so the pumpkin \rcan grow.

The da\fs grow warmer. The farmer tends the pumpkin pa\rtch to keep weeds out. Weeds take water from the soil.

Pumpkin plants need \rthat water to grow.

Thomson, Sarah L. Amazing Whales! New York: HarperCollins, 2006. (2005)

A blue whale is as\r long as a basketball court. Its e\fes are as big as softba\rlls. Its tongue weighs as much as an\r el-

ephant.

It is the biggest animal that has ever lived on Earth – bigge\rr than an\f dinosaur.

But not all whales\r are this big. A ki\rller whale is about\r as long as a fire truck. Dolphins \rand porpoises are whales too,

ver\f small whales. \rThe smallest dolphin is onl\f fi\rve feet long. That’s probabl\f shorter than \four mom.

There are about 80 kinds of\r whales. All of t\rhem are mammals. Dogs a\rnd monke\fs and people are mammals, too.

The\f are warm-blooded. This means that their blood sta\fs at the same temperature even if the air or water around

them gets hot or cold.

Mammal babies drink\r milk from their mothers. \rWhale babies are called calves.

And mammals breathe air. A whale must swim to the ocean’s surface to breathe or it will drown. After a whale calf is \r

born, its mother ma\r\f lift it up for its first breath of air.

A whale uses its b\rlowholes to breathe. It can have one blowhole or two. The blowholes are on the top of its head.

When a whale breathes out, the warm breath makes a cloud called a \rblow. Then the whale breathes in. Its blowholes

s\bueeze shut. The whale dives under the water. It holds its br\reath until it comes back up.

When sperm whales h\runt, the\f dive deeper than an\f other whale. The\f can hold their breath for longer than an h\rour

and dive down more than a mile.

Deep in the ocean, where the water is dark and cold, sperm whales h\runt for giant s\buid and o\rther animals.

Some whales, like sperm whales, have teeth to catch their food. The\f are called toothed whales. Oth\rer whales have

no teeth. The\f are called baleen wha\rles. (Sa\f it like this: ba\f-LEEN.) Blue whal\res and humpback wha\rles are baleen

whales. The\f have strips of baleen in \rtheir mouths. Bal\reen is made of the \rsame stuff as \four fingernails. I\rt is strong

but it can bend.

A baleen whale fill\rs its mouth with w\rater. In the water there might be fish or k\rrill. Krill are tin\f animals like shrimp.

The whale closes its\r mouth. The water flows back out between the strips of baleen.

The fish or krill are trapped inside its mo\ruth for the whale to eat.

Some whales, like killer whales, hu\rnt in groups to catch their food. These groups are called pods. A wh\rale mother

and her children, and even her grandchildren sometimes live in one pod.

Used by permission of \barperCollins Publishers. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Hodgkins, Fran, and True Kelle\f. \bow People Learned to Fly. New York: HarperCollins, 2007. (2007)

When \fou see a bird fl\fing, do \fou dream about fl\fing too?

Do \fou run with \four arms out, imagi\rning that \fou’re soaring among the\r clouds? Do \fou make paper airplanes? Do

\fou fl\f kites?

If \fou do, \fou aren’t alone. For thousands of \fears, people have dreamed of being able\r to fl\f.

The\f watched birds and bats soar.

The\f imagined people a\rnd other animals th\rat could fl\f and told stories about them.

The\f designed machines \rthat the\f thought would be able to fl\f.

The\f had man\f ideas. As the\f tried each new idea, the\f learned a lot.

The\f learned about gravit\f. Gravit\f is the force that keeps ever\fthing on the Eart\rh’s surface. Because of gravit\f,

things have weight.

If there were no gravit\f, people, dogs, cats, and ever\fthing else would go floating off into space. Gravit\f keeps us on

the ground, even if we would rather be fl\fing.

People also learned \rabout air. Air is made of ti\rn\f particles called mo\rlecules. When \fou walk or run, \fou push through

air molecules. The\f push back on \fou, too, even though \fou don’t reall\f feel the push unles\rs the wind blows.

People learned that wind could push a kite into the sk\f.

When air molecules \rpush back on a moving object, that is a force called drag. You can feel drag for \fourself. Hold

out \four arms. Now spin around. Feel the push of ai\rr on \four arms and hands? That’s drag. Like gravit\f, drag works

against objects that are tr\fing to fl\f.

Kites were useful and fun, b\rut people wanted more. The\f wanted to fl\f like birds.

Birds had something th\rat kites didn’t: Birds had wings.

People made wings an\rd strapped them to their arms. The\f flapped their arms \rbut couldn’t fl\f.

The\f built gliders, lig\rht aircraft with wings. So\rme didn’t work, but some did.

The gliders that worked best had special wings\r. These wings were arched on both the top and the bottom. The air

pulled the wings fr\rom above and pushed the wi\rngs from below. When the wings w\rent up, so did the glider!\r Arched

wings help create a force called lift. Lift\r is the force that keeps birds and gliders in th\re air.

Most gliders have long, thin wings\r. The wings create enough lift to carr\f the aircraft and its passengers. Gliders usu\r-

all\f ride currents of air the sam\re wa\f a hawk soars.

Gliders are ver\f light, and long \rwings and air currents can give them enough lift\r to fl\f. But to carr\f more than just a

passenger or two, an aircraft needs a lot mor\re lift. The \buestion is: How do \fou create more lift?

The engine is the a\rnswer!

The engine is a mach\rine that changes energ\f into movement. The forward movement that an airplane needs\r to fl\f is

called thrust. More thrust makes an airplane move forward faster. Moving faster creates more lift. And with mo\rre lift,

an airplane can carr\f\r more weight. So an aircraft with an engine\r can carr\f passengers or cargo.

In 1903 the Wright brothers figured out how to get wings and an \rengine to work together in order to give an airplane

enough thrust to fl\f. The\f made the first powered flight at Kitt\f Hawk, North Carolina.

Since then, people have made airplanes th\rat can fl\f faster than sound can tr\ravel. The\f have made airplanes th\rat can

fl\f all the wa\f around the world without stopping.

Toda\f, thousands of peop\rle travel in airplanes ever\f da\f. People reall\f have learned how to fl\f!

Used by permission of \barperCollins Publishers.

Nivola, Claire A. Planting the \ntrees of Kenya: the story of Wangari Maathai. New York: Farrar, Straus & Giroux, 2008.

(2008) Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Sample Per\bormance Tasks \bor In\bormational Texts

• Students identify the reasons Cl\fde Robert Bulla gives in his book A Tree Is a Plant in support of his point

about the function of roots in germination. [RI.1.8]

• Students identif\f Edith Thacher Hurd as the author of Starfish and Robin Brickman as the illustrator of the text

and define the role and materials each contributes to the text. [RI.K.6]

• Students ( with prompting and support from the teacher ) read “Garden Helpers” in National Geographic Young

\fxplorers and demonstrate their understanding of the main idea of the text—not all bugs are bad—b\f retelling

key details . [RI.K.2]

• After listening to Gail Gibbons’ Fire! Fire!, students ask questions about how firefighters respond to a fire and

answer using key details from the text. [RI.1.1]

• Students locate key facts or information in Claire Llewell\fn’s \farthworms b\f using various text features (head -

ings, table of contents, glossary) found in the text. [RI.1.5]

• Students ask and answer questions about animals (e.g., h\fena, alligator, plat\fpus, scorpion) the\f encounter in

Steve Jenkins and Robin Page’s What Do You Do With a Tail Like This? [RI.K.4]

• Students use the illustrations along with textual details in Wend\f Pfeffer’s From Seed to Pumpkin to describe

the key idea of how a pumpkin grows. [RI.1.7]

• Students ( with prompting and support from the teacher ) describe the connection between drag and fl\fing

in Fran Hodgkins and True Kelle\f’s \bow People Learned to Fly b\f performing the “arm spinning” experiment

described in the text. [RI.K.3] Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Gr\fdes 2–3 tex\b exempl\frs

Stories

Gannett, Ruth Stiles. My Father’s Dragon . Illustrated b\f Ruth Chrisman Gannett. New York: Random House, 1948.

(1948).

From Chapter Seven “M\f Father Meets a Lion”

“Who are \fou?” the lion \felled at m\f father.

“M\f name is Elmer E\rlevator.”

“Where do \fou think \fou are going?”

“I’m going home,” said m\f father.

“That’s what \fou think!” said the\r lion. “Ordinaril\f I’d save \fou for afternoon tea, but I happen t\ro be upset enough \rand

hungr\f enough to eat \fou right now.” And he picked up m\f father in his front paws to feel how fat he was.

M\f father said, “Oh, ple\rase, Lion, before \fou eat me, tell me wh\f \fou are so particularl\f up\rset toda\f.”

“It’s m\f mane,” said the lion, as\r he was figuring out how man\f bites a little bo\f would make. “You see what a dreadful

mess it is, and I don’\rt seem to be able to do an\fthing about it. M\f\r mother is coming over on the dragon this after-

noon, and if she se\res me this wa\f I’m afraid she’ll stop m\f allowance. She can’t stand mess\f manes! But I’m go\ring to

eat \fou now, so it won’t make an\f difference to \fou.”

“Oh, wait a minute,” said m\f father, “and I’ll give \fou just the things \fou need to make \four mane a tid\f and \rbeautiful.

I have them here in m\f pack.”

“You do?” said the lion, “\rWell, give them to me, and perhaps I’ll \rsave \fou for afternoon tea after all,” and he put m\f

father down on the ground.”

M\f father opened the pack\r and took out the comb and the brush a\rnd the seven hair ribbons of \rdifferent colors.

“Look,” he said, “I’ll sh\row \fou what to do on \four forelock, where \fou can watch me. First \fou brush a while, and then

\fou comb, and then \fou brush again unti\rl all the twigs an\rd snarls are gone. Then \fou divide it up int\ro three and braid

it like this and tie a ri\rbbon around the end.”

Ad m\f father was doing this, the \rlion watched ver\f carefull\f and began to look much happier\r. When m\f father tied

the ribbon he was all smiles. “Oh\r, that’s wonderful, reall\f wonderful!” said the \rlion. “Let me have the comb and brush

and see if I can do \rit.” So m\f father gave him the comb and brush and th\re lion began busil\r\f grooming his mane. As a

matter of fact, he was so bus\f that he didn’t even know when m\f father left.

Random \bouse Children’s Books, a division of Random \bouse, Inc. All rights r\neserved. Any additional use of this text,

such as for classroom use or curricul\num development, requires independent permission from Random \bouse, Inc.

Averill, Esther. The Fire Cat. New York: HarperCollins, 1960. (1960)

From “The Fire Cat”

Joe took Pickles to the Chief, who was sitting at his desk.

“Oh!” said the Chie\rf. “I know this \foung cat. He is the one \rwho chases little c\rats.”

“How do \fou know?” asked Joe.

The Chief answered, “A Fire Chief knows man\f things.”

Just then the telephone began to ring. “Hello,” said the Chief. “Oh, hello, Mrs. Goodkind. Yes, Pickles is here. He

came with Joe. What did \fou sa\f? You think Pickles would like to live in our firehouse? Well, we shall see. Thank

\fou, Mrs. Goodkind. \rGood-b\fe.” Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

The Chief looked at Pickles and said, \r“Mrs. Goodkind sa\fs \fou are not a bad cat. And Joe likes \fou. I will let \fou live

here IF \fou will learn to be a good firehouse cat.”

Pickles walked \buietl\f up the stairs after Joe. Joe and Pickles \rwent into a room where the firemen lived.

The men were pleased to have a cat. The\f wanted to pla\f with Pickles. Bu\rt suddenl\f the fire bell rang. All the fire-

men ran to a big pole and do\rwn the\f went. The pole was the fast wa\f to get to their trucks. Pic\rkles could hear the

trucks start up and rush off\r to the fire.

Pickles said to himself, “I must learn to do what the firemen do, I must learn to slide down the pole.”

He jumped and put h\ris paws around the pole. Down he fell with a BUMP.

“Bumps or no bumps,\r I must tr\f again,” said Pickles. Up\r the stairs he ran. Down the pole he came\r – and bumped.

But b\f the time the firemen came back from the fire, Pickles could slide down the pole.

“What a wonderful cat \fou are!” said the firemen. The Chief did not sa\r\f an\fthing.

Pickles said to himself, “I must keep learning ever\fthing I can.” So he learned to jump up on one o\rf the big trucks. \r

And he learned to sit up straight on the seat while the truck raced to a fire.

“What a wonderful cat \fou are!” said the firemen. The Chief did not sa\r\f an\fthing.

Pickles said to himself, “Now I must learn to help the firemen with their work.”

At the next fire, he jumped down from the truck. He ran to a big hose, put his paws around it, and tried t\ro help a fire-

man shoot water at the flames.

“What a wonderful cat \fou are!” said the firemen. The Chief did not sa\r\f an\fthing.

The next da\f the Chief called a\rll the firemen to his desk. Then he called for Pickles. Pickle\rs did not know what was

going to happen. He said \rto himself, “Ma\fbe the Chief does \rnot like the wa\f I work. Ma\fbe he wants to send me back

to m\f old \fard.” But Pickles went to the Chief.

At the Chief’s desk stood all the firemen – and Mrs. Goo\rdkind! The Chief said to Pickles, “I have asked Mrs. Goodkind

to come because she was \four first friend. Pickles, \rjump up on m\f desk. I have something to sa\f to \fou.”

Pickles jumped up o\rn the desk and look\red at the Chief. Out of the desk \rthe Chief took – a little fire hat!

“Pickles,” said the Chief, “I have watched \fou at \four work. You have worked hard. The time has come for \fou to

know that \fou are now our Fire Cat.”

And with these words, the Chief put t\rhe little hat on Pickles’ head.\r

Steig, William. Amos & Boris. New York: Farrar, Straus and Giroux, 1971. (1971)

Shulevitz, Uri. The Treasure. New York: Farrar, Straus and Giroux, 1978. (1978)

Cameron, Ann. The Stories Julian Tells . New York: Random House, 1981. (1981)

MacLachlan, Patricia. Sarah, Plain and Tall. New York: HarperCollins, 1985. (1985)

From Chapter I

“Did Mama sing ever\f da\f?” asked Caleb. “Ever\f-single-da\f?” He sat close to the fire, his chin in his h\rand. It was dusk,

and the dogs la\f beside him on the\r warm hearthstones.

“Ever\f-single-da\f,” I told him for the second time this week. For the twentieth time this \rmonth. The hundredth time

this \fear? And the past few \fears?

“And did Papa sing, too?”

“Yes. Papa sang, too. Don’t get so clos\re, Caleb. You’ll heat up.” Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

He pushed his chair \rback. It made a hol\rlow scraping sound on the \rhearthstones. And the dogs \rstirred. Lottie, small

and black, wagged her tail and l\rifted her head. Nick sl\rept on.

I turned the bread dough over and over on the marble sl\rab on the kitchen table.

“Well, Papa doesn’t sing an\r\fmore,” said Caleb ver\f softl\f. A log broke apart and crackled in the fireplace. He looked

up at me. “What did I look like when I was born?”

“You didn’t have an\f clothes on,” I told him.

“I know that,” he said.

“You looked like this.” I held the bread dough up in a round pale ball.

“I had hair,” said Caleb seriou\rsl\f.

“Not enough to talk about,” I said.

“And she named me Ca\rleb,” he went on, filling in \rthe old familiar stor\f.

“I would have named \fou Troublesome,” I said, making Ca\rleb smile.

“And Mama handed me t\ro \fou in the \fellow blanket and said…” He waited for me to finish the stor\f. “And said…?”

I sighed. “And Mama said. ‘Isn\r’t he beautiful, A\rnna?’”

“And I was,” Caleb finished.

Caleb thought the \rstor\f was over, and I didn’t tell him what I had reall\f thought. He w\ras homel\f and plain\r, and he had

a terrible holler and a\r horrid smell. But t\rhese were not the worst of him. Mama died\r the next morning. That was the

worst thing about Cale\rb.

“Isn’t he beautifu\rl, Anna?” her last words to me. I had gone to bed thinking how wretched he looked. And I forgot to

sa\f good night.

I wiped m\f hands on m\f apron and went to the window. Outside, the prairie reached out and touched the places

where the sk\f came down. Though the winter was nearl\f over, there were patches of snow ever\fwhere. I looked at

the long dirt road that crawled across the plains, remembering the morn\ring that Mama had died, crue\rl and sunn\f.

The\f had come for her in a wagon and taken her awa\f to be buried. And the\rn the cousins and aunts an\rd uncles had

come and tried to fill up the house\r. But the\f couldn’t.

Slowl\f, one b\f one, the\f left. And then th\re da\fs seemed long and da\rrk like winter da\fs, even though it wasn’t winter.

And Papa didn’t sing.

R\flant, C\fnthia. \benry and Mudge: The First Book of Their Adventures . Illustrated b\f Suçie Stevenson. New York:

Atheneum, 1996. (1987)

From “Henr\f and Mudge”\o

Ever\f da\f when Henr\f woke up, he saw Mudge’s big head. And ever\f da\f when Mudge woke up, he saw Henr\f’s

small face.

The\f ate breakfast at the same time; t\rhe\f ate supper at the same time.

And when Henr\f was at school, Mudge jus\rt la\f around and waited. Mudge never went for a walk without Henr\f a\rgain.

And Henr\f never worried that Mudge would leave.

Because sometimes, \rin their dreams, the\f saw long silent roads, big wide fields\r, deep streams, and pine trees.

In those dreams, Mudge was alone and Henr\f w\ras alone. So when Mudge woke up and knew Henr\f was with him, he

remembered the dream and sta\fed closer.

And when Henr\f woke up and knew Mudge was with him, he remembered the dream

and the looking

and the calling

and the fear

and he knew he would never lose Mudge again\r. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Reprinted with the permission of Atheneum Books for Young Readers, an imp\nrint of Simon & Schuster Children’s Pub-

Stevens, Janet. Tops and Bottoms . New York: Harcourt, 1985. (1995)

Once upon a time there lived a ver\f laz\f bear who ha\rd lots of mone\f and lots of land. \rHis father had been a hard

worker and a smart busin\ress bear, and he had given all of his wealth to his son.

But all Bear wanted to do was sleep.

Not far down the road lived a hare. Although Hare was clever, he sometimes got\r into trouble. He had once owned

land, too, but now he had nothing. H\re had lost a risk\f bet with a tortoise and had sold of\rf all of his land t\ro Bear to pa\f

off the debt.

Hare and his famil\f were in ver\f bad shape.

“The children are so hungr\f Father Hare! We must think of somethi\rng!” Mrs. Hare cried one da\f. So Hare and Mrs.

Hare put their heads t\rogether and cooked up a plan.

[…]

Bear stared at his pile. “But, Hare, all the best parts are in \four half!”

“You chose the tops, Bear,” Hare said.

“Now, Hare, \fou’ve tricked me. You plant this field \ragain—and this seas\ron I want the bottoms!”

Hare agreed. “It’s a done deal, Bear.”

LaMarche, Jim. The Raft. New York: HarperCollins, 2000. (2000)

Somehow, on the river, it seemed like summer would never end. But of course it did.

On m\f last da\f, I got up extra earl\f and crept down to the dock. The air was cool and a low pearl\f fog hung over the

river. I untied the raft and \buietl\f drift\red downstream.

Ahead of me, through the fog, I saw two deer moving across the river, a doe and a fawn. When the\f reached the

shore, the doe leaped ea\rsil\f up the steep bank, then turn\red to wait for her bab\f. But the fawn was in trouble. It kept

slipping down the mudd\f bank, T\rhe doe returned to the water to help, but the more the fawn struggled, the deeper\r it

got stuck in the mud.

I pushed off the ri\rver bottom and drove the raft hard onto the mudd\f bank, startling the doe. Then I dropped into the

water. I was ankle-deep in mu\rd.

You’re oka\f,” I whispered to the fawn, pra\fing that the raft would calm it. “I won’t hurt \fou.”

Graduall\f the fawn stopped struggling, as if it\r understood that I was there to help. I put m\f arms around it and pulled. \r

It barel\f moved. I pulled again,\r then again. Slowl\f the fawn eased out of the\r mud, and finall\f it \rwas free. Carefull\f I

carried the fawn up the bank to its mother.

Then, \buietl\f, I returned to the raft. From there I watched the doe nuzzle \rand clean her bab\f, and I knew what I had

to do. I pulled the stub of a cra\fon from m\f pocket, and drew the fawn, in all its wil\rdness, onto the old gra\f boards of

the raft. When I had fini\rshed, I knew it was just right.

R\flant, C\fnthia. Poppleton in Winter . Illustrated b\f Mark Teague. New York: Scholastic, 2001. (2001)

From “The Sleigh Ride\o”

It was a ver\f snow\f da\f and Poppleton felt like a sleigh ride. He called his fri\rend Cherr\f Sue.

“Would \fou like to go for a sleigh ride?” Poppleton asked.

“Sorr\f, Poppleton, I’m making cookies,” said Cherr\f Sue. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Poppleton called his friend\r Hudson.

“Would \fou like to go for a sleigh ride?” Poppleton asked.

“Sorr\f,” said Hudson, “I’m\r baking a cake.”

Poppleton called his friend\r Fillmore.

“Would \fou like to go for a sleigh ride?” Poppleton asked.

“Sorr\f,” said Fillmore. “I’m stirring some fudge.”

Poppleton was disappointed. He couldn’t find one frie\rnd for a sleigh ride. And besides that, the\f were all making

such good things to eat!

He sat in front of his window, feeling ver\f sorr\f for himself. Suddenl\f the doorb\rell rang.

“SURPRISE!”

There stood all of Poppleton’s friends! With cookies and cake and fudge and presents! “HAPPY BIRTHDAY, POPPLE-

TON!”

He had forgotten his own birthda\f! Ever\fone ate and laughed and pl\ra\fed games with Poppleton.

Then, just before midnight, the\f all took him on a sleig\rh ride.

The moon was full and white. The stars twinkled. The owls hooted in the trees. Over the snow went the sleigh fill\red

with Poppleton and all of his f\rriends.

Poppleton didn’t even make a birthda\f wish. He had ever\fthing alread\f.

Used by permission.

R\flant, C\fnthia. The Lighthouse Family: The Storm . Illustrated b\f Preston McDaniels. New York: Simon & Schuster,

2002. (2002)

In a lonel\f lightho\ruse, far from cit\f and town, far from the comfort of friends, lived a kindhearted cat named Pandora.

She had been living\r in this lighthous\re all alone for four long \fears, and it was beginning to wear. She found herself

sighing long, deep, lonel\f sighs. She\r sat on the rocks overlooking the waves far too long. Sometimes\r her nose got a

sunburn.

And at night, when she \rtried to read b\f the lantern light, her mind \rwandered and she would think for hours on her

childhood when she h\rad friends and compan\f.

Wh\f did Pandora accept this lonel\f lig\rhthouse life?

Because a lighthous\re had once saved her.

Reprinted with the permission of Simon & Schuster Books for Young Readers, an imp\nrint of Simon & Schuster Chil-

Cynthia Rylant.

Osborne, Mar\f Pope. The One-\fyed Giant (Book One of Tales from the Odyssey) . New York: Disne\f H\fperion, 2002.

(2002)

From Chapter Five: “The One-E\fed Giant”

A hideous giant lum\rbered into the clearing. He \rcarried nearl\f half a\r forest’s worth of wood on his back. Hi\rs monstrous

head jutted from his bod\f like a shagg\f mountain\r peak. A single e\fe bulged in the center of his forehead.

The monster was Pol\fphemus. He was the most savage of all the C\fclopes, a race of fierce one-e\fed giants who lived

without laws or leader. The C\fclopes were ruthless creatures who were known to capture and devour an\f sailors who

happened near their \rshores. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Pol\fphemus threw down his pile of wood. As it crashed to the ground, Od\fsseus and his men fle\rd to the darkest

corners of the cave.

Unaware that the Greeks were hiding inside, Pol\fphemus drove his animals into the cave. Then he rolled a huge boul-

der over its mouth to block out the lig\rht of da\f and imprison his fl\rock inside.

Twent\f-four wagons could not haul that rock awa\f, Od\fsseus thought desper\ratel\f. How will we escape this monster?

Od\fsseus’ men trembled with terror as the giant mad\re a small fire and milked his goats in the shadow\f light. His milk -

ing done, he threw more wood on his fire. The flame blazed brightl\f, lighting up the \rcorners of the cave where Od\fs-

seus and his men were hiding.

“What’s this? Who are \fou? From where do \fou come?” the giant boome\rd. He glared at the Greeks with his sing\rle

e\fe. “Are \fou pirates who steal the treasure of others?”

Od\fsseus’ men were frozen with terror. But Od\fsseus hid his own fear and stepped toward the monster.

“We are not pirates,” he said, “We are Greeks blown off course b\f storm winds. Will \fou offer us the gift of h\rospitalit\f

like a good host? If \fou do, might\f Zeus, king of the g\rods, will be please\rd. Zeus is the guardian of all strangers.”

“Fool!” the giant growled. “Who are \fou to tell me to please Zeus? I am a son of Poseidon, god of the\r seas! I am not

afraid of Zeus!”

Od\fsseus men cowered in fear.

Pol\fphemus moved closer to Od\fsseus. He spoke in a soft, terrible voice. “But tell me, stranger, where is \four ship?

Near or far from shore?”

Od\fsseus knew Pol\fphemus was tr\fing to trap him. “Our ship w\ras destro\fed in the storm,” he lied. “It was dashed

against the rocks. With these good men \rI escaped, I ask \fou again, will \fou welcome us?”

Disney∙\byperion, an impri\nnt of Disney Book Group LLC, All Rights Reser\nved.

Silverman, Erica. Cowgirl Kate and Cocoa . Illustrated b\f Bets\f Lewin. Orlando: Harcourt, 2005. (2005)

From Chapter 1: “A Stor\f \bor Cocoa”

Cowgirl Kate rode her horse, Cocoa, out to the pasture.

“It’s time to herd cows,” said Cowgirl Kate.

“I am thirst\f,” said Cocoa.

He stopped at the creek and took a drink.

“Are \fou read\f now?” asked Cowgirl Kate.

“No,” said Cocoa. “Now I am hungr\f.”

Cowgirl Kate gave him an apple. He ate it in one bite. Then he sniffed the saddlebag.

Cowgirl Kate gave him another apple\r. He ate that in one bite, too. He sniffed the saddlebag aga\rin.

“You are a pig,” said Cowgirl Kate.

“No,” said Cocoa. “I am a horse.”

“A cowhorse?” she asked.

“Of course,” he said.

“But a cowhorse herds cows,” she said.

“Just now, I am too full,” he said. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Cowgirl Kate smiled. “Then I will tell \fou a stor\f.”

“Once there was a cowgirl who needed a cowhorse. She went to a ranch and saw lots and lots of horses. Then she

saw a horse whose coat was the color of chocolate. \bis tail and mane \nwere the color of caramel. ‘Yum,’ said the cow -

girl, ‘you are the colors of my favorite candy.’ The horse looked at her. \be sniffed her.”

“’Are you a real cowgirl?’ he asked. ‘I am a cowgirl from the boots up,’ she said. ‘Well, I am a cowhorse from the mane

down,’ he said. ‘Will you work hard every day?’ the cowgirl asked.. The horse raised his head high.\n ‘Of course,’ he

said, ‘a cowhorse always does his job.’ ‘At last,’ said the cowgirl, ‘I have found my horse.’”

“That was a good stor\f,” said Cocoa. He raised his head high\r. “And now I am read\f to herd cows.”

Poetr\f

Dickinson, Emil\f. “Autumn.” The Compete Poems of \fmily Dickinson . Boston: Little, Brown, 1960. (1893)

The morns are meeker than the\f were.

The nuts are getting brown;

The berr\f’s cheek is plumper,

The rose is out of town.

The maple wears a ga\fer scarf,

The field a scarlet go\rwn.

Lest I should be old-f\rashioned,

I’ll put a trinket on.

Rossetti, Christina. “Who Has Seen the Wind?” Sing a Song of Popcorn: \fvery Child’s Book of Poems . Selected b\f

Beatrice Schenk de Regniers et al. Illustrated b\f Marcia Brown et al. New York: Scholastic, 1988. (1893)

Who has seen the wind?

Neither I nor \fou;

But when the leaves hang trembling

The wind is passing through.

Who has seen the w\rind?

Neither \fou nor I;

But when the trees bow down their heads

The wind is passing b\f.

Milla\f, Edna St. Vincent. “A\bternoon on a Hill.” The Selected Poetry of \fdna St. Vincent Millay. Edited b\f Nanc\f

Mil\bord. New York: Modern Librar\f, 2001. (1917)

I will be the gladdest thing

Under the sun!

I will touch a hundred flowers

And not pick one.

I will look at cliffs and clouds

With \buiet e\fes,

Watch the wind bow down the grass,

And the grass rise.

And when lights beg\rin to show

Up from the town,

I will mark which m\rust be mine,

And then start down! Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Frost, Robert. “Stopping b\f Woods on a Snow\f Evening.” The Poetry of Robert Frost: The Collected Poems. Edited

b\f Edward Conner\f Lathem. New York: Henr\f Holt, 1979. (1923)

Field, Rachel. “Something Told the Wild Geese.” Branches Green. New York: Macmillan, 1934. (1934)

Hughes, Langston. “Grandpa’s Stories.” The Collected Poems of Langston \bughes . New York: Knop\b, 1994. (1958)

Jarrell, Randall. “A Bat Is Born.” The Bat Poet. New York: HarperCollins, 1964. (1964)

A bat is born

Naked and blind and pal\re.

His mother makes a pocket of her tail

And catches him. He clings\r to her long fur

B\f his thumbs and toes and teeth.

And them the mother\r dances through the night

Doubling and loopin\rg, soaring, somersa\rulting—

Her bab\f hangs on underneath.

All night, in happ\riness, she hunts and fli\res

Her sharp cries

Like shining needlepoi\rnts of sound

Go out into the night and, ec\rhoing back,

Tell her what the\f have touched.

She hears how far it is, how big it is,

Which wa\f it’s going:

She lives b\f hearing.

The mother eats the moths and gn\rats she catches

In full flight; in \rfull flight

The mother drinks the\r water of the pond

She skims across. Her bab\f hangs on tight.

Her bab\f drinks the milk sh\re makes him

In moonlight or starlight, in mid-ai\rr.

Their single shadow, printed on the moon

Or fluttering across the stars,

Whirls on all night\r; at da\fbreak

The tired mother flaps home\r to her rafter.

The others are all there.

The\f hang themselves up b\f their toes,

The\f wrap themselves in their brown wings.

Bunched upside down, the\f sleep in air.

Their sharp ears, the\rir sharp teeth, their

\buick sharp faces

Are dull and slow and mild.

All the bright da\f, as the mother sle\reps,

She folds her wings abou\rt her sleeping chil\rd.

permission of \barperCollins Publishers.

Giovanni, Nikki. “Knoxville, Tennessee.” Sing a Song of Popcorn: \fvery Child’s Book of Poems . Selected b\f Beatrice

Schenk de Regniers et al. Illustrated b\f Marcia Brown et al. New York: Scholastic, 1988. (1968)

I alwa\fs like summer

best

\fou can eat fresh corn

from dadd\f’s garden

and okra

and greens

and cabbage

and lots of

barbecue

and buttermilk Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

and homemade ice-cream

at the church picnic

and listen to

gospel music

outside

at the church

homecoming

and \fou go to the mountains

with

\four grandmother

and go barefooted

and be warm

all the time

not onl\f when \fou go to bed

and sleep

Merriam, Eve. “Weather.” Sing a Song of Popcorn: \fvery Child’s Book of Poems . Selected b\f Beatrice Schenk de

Regniers et al. Illustrated b\f Marcia Brown et al. New York: Scholastic, 1988. (1969)

Soto, Gar\f. “Eating While Reading.” The 20th Century Children’s Poetry Treasury . Selected b\f Jack Prelutsk\f.

Illustrated b\f Meilo So. New York: Knop\b, 1999. (1995)

What is better

Than this book

And the churn of can\rd\f

In \four mouth,

Or the balloon of b\rubble gum,

Or the crack of sunflower seeds,

Or the swig of soda,

Or the twist of beef jerk\f,

Or the slow slither

Of snow cone s\frup

Running down \four arms?

What is better than

This sweet dance

On the tongue,

And this book

That pulls \fou in?

It \fells, “Over here!”

And \fou hurr\f along

With a red, stick\f face.

Read-Aloud Stories

Kipling, Rud\fard. “How the Camel Got His Hump.” Just So Stories. New York: Pu\bfin, 2008. (1902)

Now this is the next tale, and it tells how the Camel got hi\rs big hump.

In the beginning o\rf \fears, when the world was so new and all, and the \rAnimals were just beginning to work for Man,

there was a Camel, and he \rlived in the middle of \ra Howling Desert becaus\re he did not want to work; and besides, he\r

was a Howler himself. So he ate sticks and thorns and\r tamarisks and milk\rweed and prickles, mo\rst ‘scruciating idle; and

when an\fbod\f spoke to him he said “Hump\rh!” Just “Humph!” and no m\rore. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Presentl\f the Horse ca\rme to him on Monda\f morning, with a s\raddle on his back an\rd a bit in his mout\rh, and said,

“Camel, O Camel, come out and trot like the rest of us.”

“Humph!” said the C\ramel; and the Horse\r went awa\f and told the Man.

Presentl\f the Dog cam\re to him, with a stick in his mouth, \rand said, “Camel, O\r Camel, come and fetch and carr\f like

the rest of us.”

“Humph !” said the \rCamel; and the Dog \rwent awa\f and told the Man.

Presentl\f the Ox came to him, with the \foke on his neck and s\raid, “Camel, O Came\rl, come and plough like the rest of

us.”

“Humph!” said the C\ramel; and the Ox went awa\f and told the Man.

At the end of the da\r\f the Man called the\r Horse and the Dog \rand the Ox together, and said, “Three, O Three, I’m ver\f

sorr\f for \fou (with the world so new-and-all); but that Humph-thing in t\rhe Desert can’t work, or he would have been

here b\f now, so I am going to leave him alone, and \fou must work double-time to make up for it.”

That made the Three ver\f angr\f (with the \rworld so new-and-all), and the\f held a palaver, and an indaba, and

a puncha\fet, and a pow-wow on the edge of th\re Desert; and the C\ramel came chewing milkweed most ’scruciating

idle, and laughed at them. Then he said “Humph!\r” and went awa\f again.

Presentl\f there came along the Dj\rinn in charge of All Deserts, \rrolling in a cloud o\rf dust (Djinns alwa\fs travel that wa\f

because it is Magic\r), and he stopped to palaver and pow-wow with the Three.

“Djinn of All Dese\rrts,” said the Horse, “is it right for an\f one to be idle, with the world so new-and-all?”

“Certainl\f not,” said the Djinn.

“Well,” said the Horse, “there’s a thing in the m\riddle of \four Howling Desert (and h\re’s a Howler himself) with a long

neck and long legs,\r and he hasn’t done\r a stroke of work since Monda\f morning. He won’t trot.”

“Whew!” said the Djinn,\r whistling, “that’s m\f Camel, for all the gold in \rArabia! What does he sa\f about it?”

“He sa\fs ‘Humph!’” said th\re Dog; “and he won’t fetch and carr\f.”

“Does he sa\f an\fthing else?”

“Onl\f ‘Humph!’; and\r he won’t plough,” said the Ox.

“Ver\f good,” said the Djinn. “\rI’ll humph him if \r\fou will kindl\f wait a minute.”

Thurber, James. The Thirteen Clocks . Illustrated b\f Marc Simont. New York: New York Review Children’s Collection,

2008. (1950)

From Chapter 1

Once upon a time, in a gloom\f castle on a lonel\f hil\rl, where there were thirteen clocks that wouldn’t go, there lived

a cold aggressive Duke, and his niece, the Princess Saralinda. She was warm in ever\f wind and weather, but he was

alwa\fs cold. His hands were as cold as his smile an\rd almost as cold as his heart. H\re wore gloves when he was asleep,

and he wore gloves when he was awake, which made it diffi\rcult for him to pick up pins or coins or kernels of nuts, or \r

to tear the wings from nightingales. H\re was six feet four, and fort\f-six, and even colder than he thoug\rht he was. One

e\fe wore a velvet patch; the other glitt\rered through a monocle, which made half o\rf his bod\f seem clos\rer to \fou than

the other half. He had lost one e\fe when he was twelve, for he was fond of peering into nests and lairs in sea\rrch of

birds and animals to maul. One afternoon, a mother sh\rrike had mauled him firs\rt. His nights were spent in evil dreams,

and his da\fs were given to wicked schemes.

Wickedl\f scheming, he would limp and cackle\r through the cold corridors of the castle, planning new impossible

feats for the suitors of Saralinda to perform. He did not wish\r to give her hand in marria\rge, since her hand was the

onl\f warm hand in the castle. Even the hands of his\r watch and the hands of \rall the thirteen clocks were frozen. The\f

had all frozen at the same time, on a snow\f night, seven \fears before, and after that it was alwa\fs ten to five in the

castle. Travelers and mariners w\rould look up at the gloom\f castle on the lonel\f h\rill and sa\f, “Time lies frozen there. It’s

alwa\fs Then. It’s never Now.” Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

White, E. B. Charlotte’s Web . Illustrated b\f Garth Williams. New York: HarperCollins, 2001. (1952)

From Chapter 1: “Be\bore Break\bast”

“Where’s Papa going with tha\rt ax?” said Fern to her mother as the\r\f were setting the tabl\re for breakfast.

“Out to the hoghouse,” replied Mrs. Arable. “Some pigs were born last night.”

“I don’t see wh\f he needs an ax,” continued Fern, who was onl\f eight.

“Well,” said her mother, “one of the pigs is\r a runt. It’s ver\f small and weak, and it will ne\rver amount to an\fthing. So

\four father has decided to do awa\f with it.”

“Do awa\f with it?” shrieked Fern. “You mean kill it? J\rust because it’s smaller than the \rothers?”

Mrs. Arable put a pitcher of cream on the table. “Don’t \fell, Fern!” she said. “Your father is right. The pig would prob-

abl\f die an\fwa\f.”

Fern pushed a chair o\rut of the wa\f and ran outdoors. The grass was wet and the earth sm\relled of springtime\r. Fern’s

sneakers were sopping b\f the time she caug\rht up with her father.

“Please don’t kill \rit!” she sobbed. “I\rt’s unfair.” Mr. Arable stopped walking.

“Fern,” he said gentl\f, “\fou will have to learn to control \fourself.”

“Control m\fself?” \felled Fern. “This is a matter of life and death, and \fou talk about controlling m\fself.”

Tears ran down her cheeks and sh\re took hold of the ax \rand tried to pull it out of h\rer father’s hand.

“Fern,” said Mr. Arable, “I know more about raising a litter of pigs than \fou do. A weakling makes trouble. Now run

along!”

“But it’s unfair,” cried Fern. “The pig couldn’t help being \rborn small, could it? If I had b\reen ver\f small at birth, would

\fou have killed me?”

Mr. Arable smiled. “Certainl\f not,” he said, looking \rdown at his daughter with love. “But this is diff\rerent. A little girl \ris

one thing, a littl\re runt\f pig is anot\rher.”

“I see no difference,” replied Fern, still hanging on to the ax. “This is the most terrible case of inju\rstice I ever heard of.”

Selden, George. The Cricket in Times Square . Illustrated b\f Garth Williams. New York: Farrar, Straus and Giroux,

1960. (1960)

From Chapter Three: “Chester”

Tucker Mouse had been w\ratching the Bellinis \rand listening to what the\f said. Next to scrounging, eaves-dropping on

human beings was what he enjo\fed most. That was one of the reasons he lived in the Times S\buare subwa\f station.

As soon as the famil\f disappeared, he darted out across the floor and scooted up to the newsstand. At one side

the boards had separated and there was a wide space he could jump through. He’d been in a few times before—just

exploring. For a moment he stood under the three-legged stool, letting his e\r\fes get used to the darkness. Then he

jumped up on it.

“Psst!” he whispered. “He\f, \fou up there—are \fou awake?”

There was no answer.

“Psst! Psst! He\f!” Tucker whispered again, louder thi\rs time.

From the shelf above came a scuffling, \rlike little feet feeling their wa\f to the edge. “Who is that going ‘psst’?” said a

voice.

“It’s me,” said Tucker. “Down here on the stool.”

A black head, with \rtwo shin\f black e\fes, peered down at him. “Who are \fou?”

“A mouse,” said Tucker. “Who are \fou?” Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

“I’m Chester Cricket, said the cricket. He had a high, \rmusical voice. Ever\fthing he said see\rmed spoken in an unheard

melod\f.

“M\f name’s Tucker,” said Tucker Mouse. “Can I come up?”

“I guess so,” said Chester Cricket. “This isn’t m\f house an\fwa\f.”

Tucker jumped up beside \rthe cricket and looked him all over. “A cricket,” he said admiringl\f\r. “So \fou’re a cricket. I

never saw one before.”

I’ve seen mice before,” the cricket said. “I knew \buite a few back in Connecticut.”

“Is that where \fou’re from?” asked Tucker.

“Yes,” said Chester. “I guess I’ll never see it again,” he added wistfull\f.

Babbitt, Natalie. The Search for Delicious . New York: Farrar, Straus and Giroux, 1969. (1969)

From the Prologue

There was a time once when the earth was still ver\f \foung, a time some \rcall the oldest da\fs. This was long before

there were an\f people about to dig parts of it u\rp and cut parts of i\rt off. People came along mu\rch later, building their

towns and castles (which nearl\f alwa\fs fell down after a while) and plaguing each other with \buarrels and supper par-

ties. The creatures who lived on earth in that earl\f time sta\fed each in his own place and kept it beautiful. \rThere were

dwarfs in the mountai\rns, woldwellers in the forests, mermaids in the\r lakes, and, of course, winds in the air.

There was one particular sp\rot on the earth whe\rre a ring of mountai\rns enclosed a ver\f dr\f and dust\f place. There

were winds and dwarfs there, but no mermaids b\recause there weren’t an\f lakes, and there were no woldwellers either

because forests couldn’t grow in so dr\f a place.

Then a remarkable thing happene\rd. Up in the mounta\rins one da\f a dwarf was poking about wi\rth a sharp tool, looking

for a good spot to begin mining. He\r poked and poked until he had made\r a ver\f deep hole in the\r earth. Then he poked

again and clear spri\rng water came spurting up \rin the hole. He hurried in great excitement to tell the other dwarfs and

the\f all came running t\ro see the water. The\f were so pleased that the\f built over it a fine house o\rf heav\f stones and

the\f made a special doo\rr out of a flat rock and balanced it in its place ver\f carefull\f on carved hinges. Then one of

them made a whistle out of a small\r stone which blew a certain ver\f high note tuned to just the right warble so that

when \fou blew it, the door of t\rhe rock house would open, and when\r \fou blew it again, the doo\rr would shut. The\f

took turns being in \rcharge of the whistle and the\f worked hard to keep the spring clea\rn and beautiful.

Curtis, Christopher Paul. Bud, Not Buddy. New York: Random House, 1999. (1999)

(Also listed as a narrative \bor grades 4–5)

From Chapter 1

Here we go again. We were all standing in line waiting for breakfast when one of the \rcaseworkers came in and tap-\r

tap-taped down the line. Uh-oh, this mean\rt bad news, either the\f’d found a foster home for somebod\f or someb\rod\f

was about to get paddled. All t\rhe kids watched the woman as she moved along the line, her high-heeled s\rhoes

sounding like little fire-crackers going off on th\re wooden floor.

Shoot! She stopped at me and said, “Are \fou Budd\f Caldwell?”

I said, “It’s Bud, not Budd\f, ma’am.”

She put her hand on\r m\f shoulder and took me out of the \rline. Then she pulled Jerr\f\r, one of the littl\rer bo\fs, over.

“Aren’t \fou Jerr\f Clark?” He \rnodded.

“Bo\fs, good news! Now that the school \fear has ended, \fou both have been accepted in new temporar\f-care homes

starting this afternoon!”

Jerr\f asked the same thing I\r was thinking, “Together?”

She said, “Wh\f no, Jerr\f, \fou’ll be in a famil\f with three little girls…”

Jerr\f looked like he’d just found out the\f were going to dip him in a pot \rof boiling milk.

“…and Bud…” She loo\rked at some papers she w\ras holding. “Oh, \fes, the Amoses, \fou’ll be with Mr. and Mrs. Amos and \r

their son, who’s twelve \fears old, that makes him just two \fears older than \fou, doesn’t it, Bud\r?” Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Yes, ma’am.”

She said, “I’m sure \fou’ll both be ver\f happ\f.”

Me and Jerr\f looked at each other.

The woman said, “Now, now, bo\fs, no need to look so glum, I \rknow \fou don’t understand what it means, but th\rere’s a

depression going on all \rover this countr\f. People can’t find job\rs and these are ver\f, ver\f difficult times f\ror ever\fbod\f.

We’ve been luck\f enough to find two wonderful families who’ve opened their doors\r for \fou. I think it’s best that we

show our new foster families that we’re ver\f…”

She dragged out the word ver\f, waiting for us to finish her sentence for her.

Jerr\f said, “Cheerful\r, helpful and grateful.” I moved m\f lips and mumbled.

She smiled and said,\r “Unfortunatel\f, \fou won’t have time for breakfast. I’ll have a couple of pieces of fruit put in \ra bag.

In the meantime go\r to the sleep room and strip \four beds and gather all of \four things.”

Here we go again. I felt like I was walking in m\f sleep as I followed Jerr\f back to the room where all the bo\fs’ beds

were jim-jammed together. This was the third foster home I was going to and I’m used to packing up and le\raving, but

it still surprises me t\rhat there are alwa\fs a few seconds, right after the\f tell \fou \fou’ve got to go, when m\f nose gets

all runn\f and m\f throat gets all chok\f and m\f e\fes get all sting-\f. But the tears coming out doesn’t h\rappen to me

an\fmore, I don’t know when it first happened, but is \rseems like m\f e\fes don’t cr\f an\fmore.

Sa\f, Allen. The Sign Painter . New York: Houghton Mi\bflin, 2000. (2000)

“Are \fou lost, son?” the man asked.

“Yes . . . I mean no\r. I need a job,” the \foung man stammered looking not much\r more than a bo\f.

“Tell me what \fou can do.”

“I can paint.”

“Ah, an artist. Are \fou good at faces?”

“I think so.”

“Can \fou paint them big?\r”

“Yes.”

“All right, I’m interested.” The man put down the brush, and s\raid, “Come with me.”

Read-Aloud Poetr\f

Lear, Edward. “The Jumblies.” Sing a Song of Popcorn: \fvery Child’s Book of Poems . Selected b\f Beatrice Schenk

de Regniers et al. Illustrated b\f Marcia Brown et al. New York: Scholastic, 1988. (1871)

The\f went to sea in a sieve, the\f did;

In a sieve the\f went to sea:

In spite of all their frie\rnds could sa\f,

On a winter’s morn, on a storm\f da\f,

In a sieve the\f went to sea.

And when the sieve turned round and round,

And ever\f one cried, “You’ll all be drowned!” Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

The\f called aloud, “Our \rsieve ain’t big;

But we don’t care a button, we don’t care a fig:

In a sieve we’ll go to sea!”

Far and few, far and few,

Are the lands where the Jumblies liv\re:

Their heads are green, and their hands\r are blue

And the\f went to sea in a sieve.

The\f sailed awa\f in a sieve, the\f did,

In a sieve the\f sailed so fast,

With onl\f a beautifu\rl pea-green veil

Tied with a ribbon, \rb\f wa\f of a sail,

To a small tobacco-pipe mast.

And ever\f one said who saw them go,

“Oh! won’t the\f be soon upset, \fou know?

For the sk\f is dark, and the v\ro\fage is long;

And, happen what ma\f, it’s extremel\f wrong

In a sieve to sail so fast.”

Far and few, far and few,

Are the lands where the Jumblies liv\re:

Their heads are green, and their hands\r are blue

And the\f went to sea in a sieve.

The water it soon came in,\r it did;

The water it soon came in:

So, to keep them dr\f, the\f wrapped their feet

In a pink\f paper all folded neat;

And the\f fastened it down with a pin.

And the\f passed the night in a \rcrocker\f-jar;

And each of them sa\rid, “How wise we are!

Though the sk\f be dark, and the v\ro\fage be long,

Yet we never can think we were rash or wrong,

While round in our sieve we spin.”

Far and few, far and few,

Are the lands where the Jumblies liv\re:

Their heads are green, and their hands\r are blue

And the\f went to sea in a sieve.

And all night long \rthe\f sailed awa\f;

And when the sun went down,

The\f whistled and warbled a moon\f song

To the echoing sound\r of a copper\f gong,

In the shade of the\r mountains brown.”

O Timballoo! How happ\f we are

When we live in a sieve and a crocker\f-jar!

And all night long,\r in the moonlight \rpale,

We sail awa\f with a pea-green sail

In the shade of the\r mountains brown

Far and few, far and few,

Are the lands where the Jumblies liv\re:

Their heads are green, and their hands\r are blue

And the\f went to sea in a sieve.

The\f sailed to the Western Sea, the\f did,—

To a land all covered with trees:

And the\f bought an owl, and a useful ca\rrt,

And a pound of rice, and a cranberr\f-tart,

And a hive of silver\f bees;

And the\f bought a pig, and\r some green jackdaws,

And a lovel\f monke\f with lollipop paws,

And fort\f bottles of ring\r-bo-ree,

And no end of Stilton cheese. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Far and few, far and few,

Are the lands where the Jumblies liv\re:

Their heads are green, and their hands\r are blue

And the\f went to sea in a sieve.

And in twent\f \fears the\f all came back,—

In twent\f \fears or more;

And ever\f one said, “How tall the\f’ve grown!

For the\f’ve been to the Lakes, and the Torrible Zone,

And the hills of th\re Chankl\f Bore.

“And the\f drank their health, a\rnd gave them a feast

Of dumplings made o\rf beautiful \feast;

And ever\f one said, “If we onl\f live,

We, too, will go to sea in a sieve,

To the hills of the\r Chankl\f Bore.

Far and few, far and few,

Are the lands where the Jumblies liv\re:

Their heads are green, and their hands\r are blue

And the\f went to sea in a sieve.

Browning, Robert. The Pied Piper of \bamelin . Illustrated b\f Kate Greenawa\f. New York: Knop\b, 1993. (1888)

Hamelin Town’s in Brunswick,

B\f famous Hanover cit\f;

The river Weser, deep and wide,

Washes its wall on the southern\r side;

A pleasanter spot \fou never spied;

But, when begi\rns m\f ditt\f,

Almost five hundred \fears ago,

To see the townsfolk suffer so

From vermin, was a pit\f.

Rats!

The\f fought the dogs and \rkilled the cats,

And bit the b\rabies in the cradles,

And ate the cheeses out o\rf the vats.

And licked the soup from the cook’s own ladles,

Split open the\r kegs of salted sprats,

Made nests inside men’s Sunda\f hats,

And even spoiled the women’s chats,

B\f drowning their speakin\rg

With shrieking and s\r\bueaking

In fift\f different sharps and flats.

At last the people in a \rbod\f

To the Town Hall came flockin\rg:

“Tis clear,” cried the\f, “our Ma\for’s a nodd\f;

And as for our Corporation—shocking

To think we bu\f gowns lined with ermi\rne

For dolts that can’t or won’t determine

What’s best to rid us of our vermin!

You hope, because \fou’re old and obese,

To find in the furr\f ci\rvic robe ease?

Rouse up, sirs! Give \four brains a racking

To find the remed\f we’re lacking,

Or, sure as fate, we’ll send \fou packing!”

At this the Ma\for and Corporation

Quaked with a might\f consternation. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Johnson, Georgia Douglas. “Your World.” Words with Wings: A Treasury of African-American Poetry and Art .

Selected b\f Belinda Rochelle. New York: HarperCollins, 2001. (1918)

Your world is as big as \fou make it.

I know, for I used to abide

In the narrowest nest in a corner,

M\f wings pressing close to m\f side.

But I sighted the distant horizon

Where the sk\fline encircled the sea

And I throbbed with a burnin\rg desire

To travel this immensit\f.

I battered the cordons around me

And cradled m\f wings on the breeze,

Then soared to the uttermost reaches

With rapture, with power, with ease!

Eliot, T. S. “The Song o\b the Jellicles.” Old Possum’s Book of Practical Cats . Illustrated b\f Edward Gore\f. Orlando:

Harcourt, 1982. (1939)

Fleischman, Paul. “Fireflies.” Joyful Noise: Poems for Two Voices . Illustrated b\f Eric Beddows. New York:

HarperCollins, 1988. (1988)

Light Light

is the ink we use

Night Night

is our parchment

We’re

fireflies

fireflies flickering

flitting

flashing

fireflies

glimmering fireflies

gleaming

glowing

Insect calligraphers Insect calligraphers

practicing penmanship\r

cop\fing sentences

Six-legged scribblers Six-legged scribblers

of vanishing messages,

fleeting graffiti

Fine artists in flight Fine artists in flight

adding dabs of light\r

bright brush strokes

Signing the June n\rights Signing the June n\rights

as if the\f were paintings as if the\f were paintings

We’re

flickering fireflies

fireflies flickering

fireflies. fireflies.

Sample Per\bormance Tasks \bor Stories and Poetr\f

• Students ask and answer questions regarding the plot of Patricia MacLachlan’s Sarah, Plain and Tall, explicitly

referring to the book to form the basis for their answers. [RL.3.1] Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

• Students explain how Mark Teague’s illustrations contribute to what is conve\fed in C\fnthia R\flant’s Poppleton

in Winter to create the mood and emphasize aspects of characters and setting in the stor\f. [RL.3.7]

• Students read fables and folktales from diverse cultures that represent various origin tales, such as Rud\fard

Kipling’s “How the Camel Got His Hump” and Natalie Babbitt’s The Search for Delicious, and paraphrase their

central message, lesson, or moral . [RL.2.2]

• Students describe the overall story structure of The Thirteen Clocks b\f James Thurber, describing how the

interactions of the characters of the Duke and Princess Saralinda introduce the beginning of the story and how

the suspenseful plot comes to an end. [RL.2.5]

• When discussing E. B. White’s book Charlotte’s Web, students distinguish their own point of view regarding

Wilbur the Pig from that of Fern Arable as well as from that of the narrator . [RL.3.6]

• Students describe how the character of Bud in Christopher Paul Curtis’ stor\f Bud, Not Buddy responds to a

major event in his life of being placed in a foster home. [RL.2.3]

• Students read Paul Fleischman’s poem “Fireflies,” determining the meaning of words and phrases in the poem,

particularl\f focusing on identif\fing his use of nonliteral language (e.g., “light is the ink we use”) and talking

about how it suggests meaning. [RL.3.4]

In\bormational Texts

Aliki. A Medieval Feast . New York: HarperCollins, 1986. (1983)

It was announced from the palace that the King would soon make a long journe\f.

On the wa\f to his destination, the King and \rhis part\f would spend a few nights at Camdenton Manor. The lord of the

manor knew what this meant. The king traveled with his Queen\r, his knights, s\bui\rres, and other membe\rrs of his court.

There could be a hundred mouths to feed!

Preparations for the visit began \rat once. The lord and lad\f of the ma\rnor had their serfs \rto help them. The serfs lived

in huts provided for them on the lord’s estate, each with its own plot of land. In\r return, the\f were bound to serve the

lord. The\f farmed his land, mana\rged his manor house\r, and if there was a war, the\f had to go to battle with the lord

and the King.

But now the\f prepared.

The manor had its own church, which was attended b\f ever\fone on the estate.

The manor house had \rto be cleaned, the rooms readied, tents set up for the horsemen, fie\rlds fenced for the horses.

And above all, provisions had to be gathered for the great feast.

The Ro\fal Suite was redecorated.

Silk was spun, new fabric was woven.

The Ro\fal Crest was embroidered on linen and pai\rnted on the King’s chair.

The lord and his part\f went hunting and hawking for fresh meat.

Hunting was a sport for the rich onl\f. The wild animals tha\rt lived on the lord’s estate belonged to him. An\fone caught

poaching—hunting il\rlegall\f—was severel\f punished.

Falcons and hawks were prizeds pets. The\f were trained to attack birds for their masters to capture.

The\f trapped rabbits and birds of all kinds, an\rd fished for salmon and eels \rand trout. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Serfs hid in bushes\r and caught birds in traps. The\f set ferrets in burrows to chase out rabbits.

There were fruits and vegetables growing in the garden, herbs and flowers for sauces and salads, and b\rees made

hone\f for sweetening.

Gibbons, Gail. From Seed to Plant . New York: Holida\f House, 1993. (1991)

From “A ‘From Seed to Plant’ Project”

How to raise bean plants

1. Find a clean glass jar. Take a piece of black construction paper and roll it up.

2. Slide the paper int\ro the jar. Fill the jar with\r water.

3. Wedge the bean seeds\r between the black paper\r and the glass. Put the jar in a warm place.

4. In a few da\fs the seeds will be\rgin to sprout. Watch the roots grow down. The shoots will grow up.

5. Put dirt into a big cla\f pot.

6. Carefull\f remove the small plants\r from the glass jar. Place them in the soil\r, covering them up to the base of thei\rr

shoots.

7. Water them…and watched them grow.

Milton, Jo\fce. Bats: Creatures of the Night . Illustrated b\f Jo\fce Mo\b\batt. New York: Grosset & Dunlap, 1993. (1993)

No one has lived on this farm for \fears.

The barn looks empt\f\r.

But it isn’t!

Strange creatures are sleeping in the \rloft.

As the sun goes down, the\f take to the air.

Moffatt. Used by permission of Grosset & Dunlap, A Division of Penguin Young Readers Group, A Member of Penguin

Group (USA) Inc. All rights \nreserved.

Beeler, Selb\f. Throw Your Tooth on the Roof: Tooth Traditions Around the World . Illustrated b\f G. Brian Karas. New

York: Houghton Mi\bflin, 2001. (1998)

Has this ever happened to \fou?

You find a loose tooth in \four mouth.

Yikes! You can wiggle it wi\rth \four finger.

You can push it back\r and forth with \four tongue.

Then one da\f it falls out.

There \fou are with \four old bab\f tooth in \four hand and a big h\role in \four mouth.

It happens to ever\fone, ever\fwhere, all over the world.

“Look! Look! M\f tooth fell out! M\f tooth fell out!”

But what happens next?

What in the world do \fou do with \four tooth?

North America

United States

I put m\f tooth under m\f pillow. While I’m sound a\rsleep, the Tooth Fair\f will come into m\f room, take m\f tooth, and

leave some mone\f in its place.

Mexico

When I go to sleep, I leave m\f tooth in a box on the bedside ta\rble. I hope El Ratón, the magic mous\re, will take m\f

tooth and bring me s\rome mone\f. He leaves more mone\f for a front tooth. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Yupik

M\f mother wraps m\f tooth in a food, like meat or bread. Then I feed it to a female dog and sa\f, “Replace this tooth

with a better one.”

Yellowknife Déné

M\f mother or grandmother takes m\f tooth and puts it in\r a tree and then m\f famil\f dances around it. This makes cer-

tain that m\f new tooth will grow in as straight as a tree.

Navajo

M\f mother saves m\f tooth until m\f mouth stops hurting. Then we take m\f tooth to the southeast, awa\f from our

house. We bur\f the tooth on the east side of a health\f \foung sagebrush, rabbit bush, or pin\fon tree because we be-

lieve that east is the direction associated with childhood.

Leonard, Heather. Art Around the World . New York: Rigb\f, 1998. (1998)

Ru\bfin, Frances E. Martin Luther King and the March on Washington . Illustrated b\f Stephen Marchesi. New York:

Grosset & Dunlap, 2000. (2000)

August 28, 1963

It is a hot summer \rda\f in Washington, D.C.

More than 250,000 people are pouring into the cit\f.

The\f have come b\f plane, b\f train, b\f car, and b\f bus.

From MARTIN LUT\b\fR KING, JR. AND\n T\b\f MARC\b ON WAS\bINGTON: ALL ABOARD R\fADING by Frances \f. Ruffin,

permission of Grosset & Dunlap, A Division of Penguin Young Readers Group, A Member of Penguin Group (USA) Inc.

St. George, Judith. So You Want to Be President? Illustrated b\f David Small. New York: Philomel, 2000. (2000)

Ever\f single President has taken this oath: “I do solemnl\f s\rwear (or affirm) that I will faithfull\f execute the office of

President of the Unit\red States, and will to the best of m\f abilit\f, preserve, protect, and defend the Constitution of the

United States.”

Onl\f thirt\f-five words! But it’s a big order if \fou’re President of this countr\f. Abraham Lincoln was tops at filling that

order. “I know ver\f well that man\f others might in t\rhis matter or as in others, \rdo better than I can,” he said. “But…I a\rm

here. I must do the best I can, and bear th\re responsibilit\f of ta\rking the course which I feel I ought to take.”

That’s the bottom line. Tall, short, fat, thin, talkative, \buiet, vain, humble, law\fer, teacher, or soldier—this is\r what most

of our Presidents have tried to do, each in his own wa\f. Some succeeded. Some failed. If \fou want to be President—

a good President—pattern \four self after the best. Our best have asked more of themselves than the\f thought the\f

could give. The\f have had the courage, spirit, and will \rto do what the\f knew was right. Most of all, their firs\rt priorit\f

has alwa\fs been the people \rand the countr\f the\f served.

Readers Group, A Member of Penguin Group (USA) Inc, all rights \nreserved.

Einspruch, Andrew. Crittercam. National Geographic Windows on Literac\f Series. Washington, D.C.: National

Geographic, 2004. (2004)

Kudlinski, Kathleen V. Boy, Were We Wrong About Dinosaurs . Illustrated b\f S. D. Schindler. New York: Dutton, 2005.

(2005)

Long, long ago, before people knew an\fthing about dinosa\rurs, giant bones were found in China. Wise men who saw

the bones tried to guess what sort of enormous \ranimal the\f could have come from. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

After the\f studied the fossil bones, the anci\rent Chinese decided \rthat the\f came from dragons. The\f thought these

dragons must have been magic dragons to be so large. And the\f believed that dragons could still be alive.

Bo\f, were the\f wrong!

No one knows exactl\f what dinosaurs looked like. All that is left of them \rare fossil bones and a few other clues. Now

that we think that man\f of our own past guesses about dinosaurs\r were just as wrong as those of an\rcient China.

Some of our mistakes were little ones. Whe\rn the first fossil bones of Iguanodon were found, one was shaped like a

rhino’s horn. Scientists guessed that the strange horn fit like a spike on Iguanodon’s nose

Bo\f, were we wrong about Iguanodon!

When a full set of\r fossil bones was found later, there were two pointed bones, the\f were part of Iguanodon’s hands,

not its nose!

Other new clues show us that we ma\f have been wrong about ever\f kind of dinosaur.

Some of our first drawings of dinosaurs \rshowed them with their \relbows and knees pointin\rg out to the side, like a

lizard’s. With legs like that, big dinosaurs could onl\f waddle clumsil\f on al\rl fours or float underwater.

Now we know that their legs were straight under them, l\rike a horse’s. Dinosaurs were not clums\f. The sizes and

shapes of their leg\r bones see to show that some were as fast and graceful as deer.

From BOY, W\fR\f W\f WRONG ABOUT DINOSAURS by Kathleen Kudlinski, illustrated by S.D. Schindler. Text copy -

Books, A Division of Penguin Young Readers Group, A Member of Penguin Group (USA) Inc. All rights \nreserved.

Davies, Nicola. Bat Loves the Night . Illustrated b\f Sarah Fox-Davies. Cambridge, Mass.: Candlewick, 2001. (2001)

Floca, Brian. Moonshot: The Flight of Apollo 11 . New York: Atheneum, 2009. (2009)

High above there is the Moon, cold and \buiet, no ai\rr, no life, but glowing in the sk\f.

Here below there are three men who close th\remselves in special cloth\res, who—click—lock hands in heav\f gloves,

who—click—lock heads in large round helmets.

It is summer here in Florida, hot, \rand near the sea. B\rut now these men are dressed for colder, stranger places. The\f

walk with stiff and awkward steps in suits not m\rade for Earth.

The\f have studied and practiced and trained, and said good\r-b\fe to famil\f and friends. I\rf all goes well, the\f will be

gone for one week, gone where no one has been.\r

Their two small spaceships are Columbia and \fagle. The\f sit atop the rocket that will raise them into space, a monster

of a machine: It stands thirt\f stories, it weighs six million \rpounds, a tower full of fuel and\r fire and valves and pipes and

engines, too big to believe, but built to fl\f—the might\f, massive Saturn V.

The astronauts s\bueeze in to Columbia’s sidewa\fs seats, l\fing on their \rbacks, facing toward the sk\f—Neil Armstrong

on the left, Michae\rl Collins in the right\r, Buzz Aldrin in th\re middle.

Click and the\f fasten straps.

Click and the hatch is sealed.

There the\f wait, while the Saturn hums beneath them.

Near the rocket, in Launch Control, and far awa\f in Houston, in Mission Control, there are numbers, screens, and

charts, wa\fs of watching and checking e\rver\f piece of the rocket and ships, the f\ruel, the valves, the pipes, the\r engines,

the beats of the astronauts’ hearts.

As the countdown closes, each man\r watching is asked the \buestion: GO/NO GO?

And each man answers back: “GO.” “GO.” “GO.”

Apollo 11 is GO for launch.

Reprinted with the permission of Atheneum Books for Young Readers, an imp\nrint of Simon & Schuster Children’s Pub-

lishing Division from MOONS\bOT: The Flight of Apollo 11 by Brian Floca. Copyright © 2009 by Brian Floca. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Thomson, Sarah L. Where Do Polar Bears Live? Illustrated b\f Jason Chin. New York: HarperCollins, 2010. (2010)

This island is covered with snow. No trees grow. Nothing has green leaves. The land is white as far as \fou can see.

Then something smal\rl and round and black pokes up out of the s\rnow.

A black nose sniffs\r the air. Then a smooth white head appears. A m\rother polar bear hea\rves herself out of h\rer den.

A cub scrambles after her.

When the cub was born four months ago, he was no bigger than a\r guinea pig. Blind \rand helpless, he snuggled in h\ris

mother’s fur. He drank her milk and grew, safe from the long Arctic winter.

Outside the den, on\r some da\fs, it was fift\f degrees below zero. From October to Februar\f, the sun never rose.

Now it is spring—even though snow still covers the land. The cub is about the\r size of a cocker spaniel. He’s read\f to

leave the den. For the first time, he sees bright su\rnlight and feels the wind ruffle\r his fur

The cub tumbles and \rslides down ic\f hills. His pla\f makes him strong and teaches him to walk and run in snow.

Like his mother, he cub is built t\ro survive in the Arctic. Hi white fur will grow to be six inches thi\rck—longer than \four

hand. The skin beneath the cub’s fur is black. It \rsoaks up the heat of the sun. Under\r the skin is a la\fer of fat. Like a

snug blanket, this blubber keeps in the heat of the bear’s bod\f.

Polar bears get too hot more easil\f than the\f get too cold. The\f stretch out on the ice to cool off.

Used by permission of \barperCollins Publishers.

Read-Aloud In\bormational Texts

Freedman, Russell. Lincoln: A Photobiography. New York: Houghton Mi\bflin, 1989. (1987)

From Chapter One: “The M\fsterious Mr. Lincoln”

Abraham Lincoln wasn’t the sort of m\ran who could lose himself i\rn a crowd. After all, he stood six feet four inches tall.

And to top it off, he wore a high silk hat.

His height was mostl\f in his long bon\r\f legs. When he sat in a chair, he seemed no tall\rer than an\fone else. I was onl\f

when he stood up that he towered over other men.

At first glance, most people thought h\re was homel\f. Lincoln thought so too, once referring to his “poor, lean, lank

face.” As a \foung man he was sensitive about his gawk\f looks, but in tim\re, he learned to laugh at himself. When a

rival called him “two-faced” during a politic\ral debate, Lincoln replied: “I leave it to m\f audience. If I had another \rface,

do \fou think I’d wear this one?”

According to those who knew him, Lincoln was a man of man\f faces. In repose, he often seemed sad and gl\room\f.

But when he began \rto speak, his expression changed. “The dull, listless features dropped like a mask,” said a Chicago

newspaperman. “The e\fes began to sparkle, the mouth to smile, the whole countenance was wreathed in animation,

so that a stranger would have said, ‘Wh\f, this man, so ang\rular and solemn a m\roment ago, is reall\f handsome.’”

Lincoln was the most photographed man of his ti\rme, but his friends i\rnsisted that no photo ever did him justice. It’s no

wonder. Back then cameras re\buired long exposures. The person being pho\rtographed had to “freeze” as the seconds

ticked b\f. If he blinked an e\fe, the picture would be blurred. That’s wh\f Lincoln looks so stiff and formal in his photos.

We never see him laughing\r or joking.

Coles, Robert. The Story of Ruby Bridges . Illustrated b\f George Ford. New York: Scholastic, 1995. (1995)

Rub\f Bridges was born in a small \rcabin near T\flertown, Mississippi.

“We were ver\f poor, ver\f, ver\f poor,” Rub\f said. “M\f dadd\f worked picking crops. We just barel\f got b\f. There were Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

times when we didn’t have much to eat. The people who owned the land were bringing in machines to pick the crops,

so m\f dadd\f lost his job, and that’s when we had to move.

“I remember us leaving. I was four, I think.”

In 1957, the famil\f moved to New Orleans. Rub\f’s father became a janit\ror. Her mother took care of the children dur-

ing the da\f. After the\f were tucked in bed, Rub\f’s mother went to work scrubbing floors \rin a bank.

Ever\f Sunda\f, the famil\f went to church.

“We wanted our children to be near God’s spirit,” Rub\f’s mother said. “We wanted them to start feeling close to Him

from the start.”

At that time, black children and white children went to separate schools in New Orleans. The black children were not

able to receive the same education as the white children. It wasn’t fair. And it was against the nation’s law.

In 1960, a judge ordered four black girls to go to two white elementar\f schools\r. Three of the girls were sent to Mc-

Donogh 19. Six-\fear-old Rub\f Bridges was sent to first grade in the William Frantz Elementar\f Scho\rol.

Rub\f’s parents were proud that their daughter had been chosen t\ro take part in an import\rant event in American his\r-

tor\f. The\f went to church.

“We sat there and pra\fed to God,” Rub\f’s mother said, “that we’d all be strong and we’d have courage and we’d get

through an\f trouble; and Rub\f would be a good girl \rand she’d hold her head up h\righ and be a credit to her own

people and a credit to all the American \rpeople. We pra\fed long and we pra\fed hard.”

On Rub\f’s first da\f, a large crowd of angr\f white people gathered outside the Frantz Elementar\f Scho\rol. The people

carried signs that said the\f didn’t want black children in a white school. People called Rub\f names; some wanted to

hurt her. The cit\f and state police did not help Rub\f.

The President of the Unit\red States ordered federal marshals to walk with Rub\f into the school buildi\rng. The marshals

carried guns.

Ever\f da\f, for weeks that turned into months, Rub\f experienced that kind of school da\f.

She walked to the Frantz School surrounded b\f marshals. Wearing a clean dress and a bow in her hair and ca\rrr\f -

ing her lunch pail,\r Rub\f walked slowl\f for the first few blocks. As Rub\f approached the school, s\rhe saw a crowd of

people marching up and down the street. Men and women and children shouted at her. The\f pushed toward her.

The marshals kept them from Rub\f b\f threatening to arrest them.

Rub\f would hurr\f through the crowd and not sa\f a word.

Scholastic Inc.

Wick, Walter. A Drop of Water: A Book of Science and Wonder . New York: Scholastic, 1997. (1997)

From “Soap Bubbles”

There are few objects \fou can make that have both the dazzling\r beaut\f and delicate precision of a soap b\rubble.

Shown here at actual size, this bubble is a\r nearl\f perfect sphere. Its shimmering l\ri\buid skin is five hundred times thin-

ner than a human ha\rir.

Bubbles made of pla\rin water break almost as \buickl\f as the\f form. That’s because surface tension is so strong the

bubbles collapse. Adding soap to water weakens water’s surface tension. This allows a film of soap\f water to stretch

and stretch without breaking.

When \fou blow a bubble, it looks somewhat like a drop of water emerging from a faucet. And just like the surface of

a drop of water, the bubble’s surface shrinks to form a sphere. Spheres and circles are mathematical shapes. Beca\ruse

the\f can form spontaneousl\f, the\f are also shapes of n\rature.

From A DROP OF WAT\fR: A BOOK OF SCI\fNC\f AND WOND\fR by Walter Wick. Scholastic Inc./Scholastic Press.

appendix \b |

Smith, David J. If the World Were a Village: A Book about the World’s People. Illustrated b\f Shelagh Armstrong.

Toronto: Kids Can Press, 2002. (2002)

From “Welcome to the Global Village”

Earth is a crowded place and it is getting\r more crowded all the time. As for Januar\f 1, 2002 the world’s population

was 6 billion, 200 \rmillion—that’s 6,200,000,000. Twent\f-three countries have more than fift\f million\r (50,000,000)

people. Ten countries each have more than one hundred million (100,000,000) people. China has nearl\f \rone billion,

three hundred million people (\r1,3000,000,000).

Numbers like this are hard to understand, but what if we imagined the whol\re population of the world as a village o\rf

just 100 people? In this imaginar\f\r village, each person would represent about sixt\f-two million (62,000,000) people

from the real world.

One hundred people would fit nicel\f into a small village. B\f learning about th\re villagers—who the\f are and how the\f

live—perhaps we can find out more about our neighbo\rrs in the real world and the problems our planet m\ra\f face in the

future.

Read\f to enter the global villa\rge? Go down into the valle\f and walk through the gates. Dawn is chasing awa\f the

night shadows. The smell of wood smoke hangs in the air. A bab\f awakes and cries.

Come and meet the pe\rople of the global\r village.

Material from If the World Were a Village: A Book abo\nut the World’s People written by David J. Smith is used by per-

Aliki. Ah, Music! New York: Harper Collins, 2005. (2003)

What is music?

Music is sound.

If \fou hum a tune, pla\f an instrument, or clap out\r a rh\fthm, \fou are making music. You are listening to it, too.

[…]

Music through the Ages

Music grew from one centur\f to the next. In the earl\f an\rd middle ages, new forms of music developed. Christianit\f

inspired church music. Music beca\rme pol\fphonic—pla\fed and sung in two or more melodic parts. Not\rations were

invented. Music was no longer a one-\rtime performance. Now it would be written and preserved for other musicians

and generations.

Used by permission of \barperCollins Publishers.

Mark, Jan. The Museum Book: A Guide to Strange and Wonderful Collections. Illustrated b\f Richard Holland.

Cambridge, Mass.: Candlewick, 2007. (2007)

From Chapter One

Suppose \fou went into a museum and \fou didn’t know what it was. Imagine: it’s raining, there’s a large building

nearb\f with an open door, and \fou don’t have to pa\f to go in. It looks\r like an ancient Greek temple. Temples are

places of worship, so \fou’d better go in \buietl\f.

But inside it doesn\r’t seem much like an\f temple or mos\bue or c\rhurch \fou have ever been in. That is, it looks lik\re all of

them, but the furni\rture is out of place. Perhaps it’s a hotel; it has fift\f rooms, but there is onl\f one bed, \ralthough it is

a ver\f splendid bed. Ap\rparentl\f Queen Elizabe\rth I slept in it. \r Or perhaps there are fift\f beds, but th\re\f are all in one

room and \fou can’t sleep in a\rn\f of them. There are red velvet ropes to keep \fou out.

Farther down the corridor \fou notice a steam locomotive. It’s a train station! But there is no track except for a few

\fards that the engine is resting on, and alread\f \fou have seen something e\rlse. Across the hall is a totem pole that

goes right up to the roof, standing next to a Viking ship. Be\fond it is a room full of glass cases displa\fing rocks, more

kinds of rocks than \fou ever knew existed, from diamonds to meteorites. From where \fou are standing, \fou can see

into the next room, where the glass cases are full of stuffed fish; and the next, which is lined \rwith shelves of Roman

potter\f; and the next, which is crowded with birds; and after that, lions and giraffes and pandas and wh\rales.

It must be a zoo.

[…] Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Just then \fou see someone walking toward \fou who isn’t dead—\fou hope. He is wearing a uniform with a badge on\r it

that reads Guide.

“Enjo\fing \fourself?” he sa\fs.

You sa\f, “Where did \fou get all this stuff?”

“All?” he sa\fs. “These are just the things we show to the public. Down in the basement\r there’s a hundred thousand

times more. Do \fou know,” he murmurs, “we’ve got twent\f-seven two-headed sheep?”

“But wh\f?” \fou ask. “Wh\f do \fou have an\f two-headed sheep.

“Because people giv\re them to us,” he sa\fs. “And so that \fou can look at them. Where else would \fou see one?

Where else would \fou be able to see the mumm\f case of King Tutankhamun, the firs\rt plane to fl\f the Atlantic, the

first train engine, the last dodo, a diplodocus, the \rastrolabe of Ahmad of I\rsfahan (an example of the oldest scientific

instrument in the world), chicken-skin gloves, the lantern carried b\f Gu\f Fawkes when he went to blow up the British

Parliament buildings\r, a murderer’s trigger finger—?”

“But where am I?” \fou sa\f. “What is this place?”

And he sa\fs, “It’s a museum.”

Somerville, MA.

D’Aluisio, Faith. What the World \fats . Photographed b\f Peter Menzel. New York: Random House, 2008. (2008)

Arnosk\f, Jim. Wild Tracks! A Guide to Nature ’s Footprints. New York: Sterling, 2008. (2008)

“Feline Tracks”

Of all the larger predators, wildcats are the most likel\f to use the same trails again and agai\rn. In deep snow, their

habitual routes become gull\f trails in which the f\reline tracks going to and coming from their hunting gr\rounds are

preserved, down out of the wind,\r awa\f from blowing snow.

A cat’s sharp retractable claws do not show in its track unless the cat has lunged to catch its pre\f or scratched the

ground to cover its droppings. Onl\f cats thoroughl\f cover their droppings.

Bobcat, lion, and jaguar\r paws all have three-lobed heels. The l\fnx, the ocelot, and the jagua\rrondi have single lobed-

heels.

The wildcats we have in North America a\rre, from the smallest to the largest: ocelot, jaguarondi, bobcat, l\fnx, Ameri-

can lion, and jagua\rr.

ing Co., Inc.

Deed\f, Carmen Agra. 14 Cows for America. In collaboration with Wilson Kimeli Nai\fomah. Illustrated b\f Thomas

Gonzalez. Atlanta: Peachtree, 2009. (2009)

The remote village waits for a stor\f to be told. News travels slowl\f to this corner of Ken\fa. As Kimeli nears\r his vil-

lage, he watches a herd of bull giraffes cross the open grassland. He smiles. \r He has been awa\f a long time.

A girl sitting unde\rr a guava tree sees him first and cries out to the others. The children run to him with the spe\red and

grace of cheetahs. He \rgreets them with a g\rentle touch on his head, a\r warrior’s blessing.

The rest of the tribe soon\r surrounds Kimeli. These are his people. These are the Maasai.

Once the\f were feared warriors. Now the\f live peaceabl\f as nomadic cattle herders. The\f treat their cows as kindl\f

as the\f do their children. The\f sign to them. The\f give them names. The\f shelter the \foung ones in their \rhomes.

Without the herd, the tribe might \rstarve. To the Maasai, the \rcow is life.

“Súpa. Hello,” Kimeli hears agai\rn and again. Ever\fone wants to greet him. His e\fes find his mother a\rcross the en-

káng, the ring of huts \rwith their roofs of sun-baked dung. She spreads her arms and cal\rls to him, “Aakúa. Welcome,

m\f son.” Kimeli sighs. \rHe is home. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

This is sweeter and sadder because\r he cannot sta\f. He must return to the farawa\f countr\f where he is learning to be

a doctor. He thinks of Ne\rw York then. He remembers September.

A child asks if he \rhas brought an\f stories. Kimeli nods\r. He has brought with him one\r stor\f. It has burned a \rhole in his

heart.

But first he must speak with the e\rlders.

Later, in a tradition as old as t\rhe Maasai, the rest of the tribe gathers under an acacia\r tree to hear the stor\f. There is

a terrible stillness in the air as the\r tale unfolds. With growing disbelief, men, women, and children listen. Buildings so

tall the\f can touch the sk\f? Fires so hot the\f can melt iron? Smoke and dust so thick the\f can block out the \rsun?

The stor\f ends. More than three thousand souls a\rre lost. A great silence falls over the Maasai. Kim\reli waits. He

knows his people. The\f are fierce when provoked, but easil\f moved to kindness when the\f hear of suffering or injus-

tice.

At last, an elder speaks.\r He is shaken, but above all, he is sad. \r“What can we do for these poor peopl\re?” Nearb\f, a

cow lows. Heads turn toward the herd. “To the Maasai,” Kimeli sa\fs softl\f, “the cow is life.”

Turning to the elders, Kimel\ri offers his onl\f cow, Enkarûs. He asks for their blessing. The\f give it gladl\f. But the\f

want to offer something more.

The tribe sends word to the United States Embass\f in Nairobi. In response, the embass\f sends a diplomat. His jeep

jounces along the dust\f, rugged roads. He is hot an\rd tired. He thinks he i\rs going to meet with Maasai\r elders. He can-

not be more wrong. As the jeep n\rears the edge of th\re village the man \rsits up. Clearl\f, this is no ordinar\f diplomatic

visit. This is…

…a ceremon\f. Hundreds of Maasai greet the American in\r full tribal splend\ror. At the sight of the\r brilliant blood-red

tunics and spectacul\rar beaded collars, he can onl\f \rmarvel.

It is a da\f of sacred ritual. Young warriors dance, leaping into the air like fish from a stream. Women sing mournful \r

songs. Children fill their bellie\rs with milk. Spee\rches are exchanged. And now it is time.

Kimeli and his peop\rle gather on a sacred knoll, far from the village. The onl\f sound is th\re gentle chiming of\r cowbells.

The elders chant a bl\ressing in Maa as the\r Maasai people of \rKen\fa present…

…fourteen cows for America.

Because there is no nation so powerful it cannot be \rwounded, nor a people\r so small the\f cannot offer might\f com-

fort.

Sample Per\bormance Tasks \bor In\bormational Texts

• Students read Aliki’s description of A Medieval Feast and demonstrate their understanding of all that goes into

such an event b\f asking questions pertaining to who, what , where , when , why , and how such a meal happens

and b\f answering using key details . [RI.2.1]

• Students describe the reasons behind Jo\fce Milton’s statement that bats are nocturnal in her Bats: Creatures

of the Night and how she supports the points she is making in the text . [RI.2.8]

• Students read Selb\f Beeler’s Throw Your Tooth on the Roof: Tooth Traditions Around the World and identify

what Beeler wants to answer as well as explain the main purpose of the text . [RI.2.6]

• Students determine the meanings of words and phrases encountered in Sarah L. Thomson’s Where Do Polar

Bears Live? , such as cub, den ,

, and the Arctic . [RI.2.4]

• Students explain how the main idea that Lincoln had “man\f faces” in Russell Freedman’s Lincoln: A Photobiog-

raphy is supported by key details in the text. [RI.3.2] Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

• Students read Robert Coles’s retelling of a series of historical events in The Story of Ruby Bridges . Using their

knowledge of how cause and effect gives order to events, the\f use specific language to describe the sequence

of events that leads to Rub\f desegregating her school. [RI.3.3]

• Students explain how the specific image of a soap bubble and other accompan\fing illustrations in Walter

Wick’s A Drop of Water: A Book of Science and Wonder contribute to and clarify their understanding of

bubbles and water. [RI.2.7]

• Students use text features , such as the table of contents and headers, found in Aliki’s text Ah, Music! to identif\f

relevant sections and locate information relevant to a given topic (e.g., rh\fthm, instruments, harmon\f) quickly

and efficiently . [RI.3.5] Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Gr\fdes 4–5 tex\b exempl\frs

Stories

Carroll, Lewis. Alice’s Adventures in Wonderland . Illustrated b\f John Tenniel. New York: William Morrow, 1992.

(1865)

From Chapter 1: “Down the Rabbit-Hole”\o

Alice was beginning to get ver\f tired of sitting b\f her sister on the bank, and\r of having nothing to do: once or twice

she had peeped into the book her sister was reading, but it had \rno pictures or conversations in it, ‘and what is the use

of a book,’ thought Alice ‘without pictures or conversation?’

So she was considering in her own mind (as well as she could, for the hot da\f made her feel ver\f sleep\f and stupid),

whether the pleasur\re of making a dais\f-chain would be worth the trouble of getting u\rp and picking the da\risies, when

suddenl\f a White Rabbit with pink\r e\fes ran close b\f her.

There was nothing so VERY remarkable in that; nor did Alice think it so VERY much out of the w\ra\f to hear the Rabbit

sa\f to itself, ‘Oh dear! Oh dear!\r I shall be late!’ (when she thou\rght it over afterwards, it occurred to her that she ought

to have wondered at this, but at the time it all \rseemed \buite natural); but when the \rRabbit actuall\f TOOK A WATCH

OUT OF ITS WAISTCOAT-POCKET, and looked at it, and then hurri\red on, Alice started to her feet, for it flashed across

her mind that she had never before seen a rabbit with either a\r waistcoat-pocket, or a watch to take out of it, and

burning with curiosi\rt\f, she ran across the field after it, and fortunatel\f was just in time to see it pop down a large

rabbit-hole under th\re hedge.

In another moment d\rown went Alice after it, never once considering how in the world she was to get out again.

Burnett, Frances Hodgson. The Secret Garden. New York: HarperCollins, 1985. (1911)

From “There’s No One Le\bt”

When Mar\f Lennox was sent to Misselthwaite Manor to live with her uncle ever\fbod\f said she was the most disagree-

able-looking child \rever seen. It was true, too. She had a little \rthin face and a little thin\r bod\f, thin light hair a\rnd a sour

expression. Her hair was \fellow, and her face was \fellow because she had b\reen born in India a\rnd had alwa\fs been ill

in one wa\f or another. Her father had held a posi\rtion under the Engl\rish Government and had alwa\fs been bus\f and ill

himself, and her mother had\r been a great beaut\f who cared onl\f to go to parties and amuse\r herself with ga\f people.

She had not wanted a little girl at all, and when Mar\r\f was born she handed h\rer over to the care of an A\fah, who was

made to understand that if she wished to please the Mem S\rahib she must keep the child out o\rf sight as much as \rpos-

sible. So when she was a sickl\f, fretful, ugl\f little \rbab\f she was kept out of the wa\f, and when she beca\rme a sickl\f,

fretful, toddling thing she was kept out of the wa\f also. She never remembered seeing familiarl\f an\fthing but the dark

faces of her A\fah and the other na\rtive servants, and as the\f alwa\fs obe\fed her and gave her her own wa\f in ever\f -

thing, because the \rMem Sahib would be angr\f if she\r was disturbed b\f her cr\fing, b\f the time she was six \fears old

she was as t\frannical and selfish \ra little pig as ever lived. The \foung English governess who came to teach her to read

and write disliked her so much that she gave up her place in three months, and when\r other governesses came to tr\f

to fill it the\f alwa\fs went awa\f in a shorter time than the fir\rst one. So if Mar\f had not\r chosen to reall\f want to know

how to read books she would never have learned her letters at all.

One frightfull\f hot\r morning, when she \rwas about nine \fears old, she awakened feeling ver\f cross, and she became

crosser still when she saw that the servant who stood b\f her bedside was not her A\fah.

“Wh\f did \fou come?” she said to the strange woman. “I will not \rlet \fou sta\f. Send m\f A\fah to me.”

The woman looked frightened, but she onl\f \rstammered that the A\fah could not come and when Mar\f th\rrew herself

into a passion and beat and kicked her, she looked onl\f more frightened and repeated that it was not possible for the

A\fah to come to Missie Sahib.

There was something m\fsterious in the air t\rhat morning. Nothing \rwas done in its regular order and several of the

native servants seemed missing, while those \rwhom Mar\f saw slunk or hurried a\rbout with ash\f and scared faces. But

no one would tell her an\fthing and her A\fah did not come. She was actuall\f left al\rone as the morning \rwent on, and

at last she wandered out into the garden and began to pla\f b\f herself under a tree near the veranda. She pretended

that she was making a flower-bed, and she stuck big scarlet hib\riscus blossoms into little heaps of \rearth, all the time\r Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

growing more and more angr\f and muttering to herself the thing\rs she would sa\f and the names she\r would call Saidie

when she returned.

Farle\f, Walter. The Black Stallion . New York: Random House Books \bor Young Readers, 2008. (1941)

From Chapter 1: “Homeward Bound”

The tramp steamer Drake plowed awa\f from the coast of India and push\red its blunt prow into the Arabian Sea, home-

ward bound. Slowl\f it made its wa\f west toward the Gulf of Aden. Its hold was loaded with coffee, rice, tea, oil seeds

and jute. Black smoke poured from its one stack, darkening the hot cloud\rless sk\f.

Alexander Ramsa\f, Jr., known to his friends back h\rome in New York Cit\f as Alec, le\raned over the rail and watched the

water slide awa\f from the sides of the\r boat. His red hair blazed redder than ever in the hot sun, \rhis tanned elbows

rested heavil\f on the rail as he turned hi\rs freckled face back toward the fast-disappearing shore.

Saint-Exupér\f, Antoine de. The Little Prince. Translated b\f Richard Howard. Orlando: Harcourt, 2000. (1943)

Babbitt, Natalie. Tuck \fverlasting. New York: Farrar, Straus and Giroux, 1975. (1975)

From Chapter 12

The sk\f was a ragged blaze of red and pink and orange, and its double trembled on the surface of the pond like color

spilled from a paintbox. The sun was dropping fast now, a soft red sliding egg \folk, and alread\f to the east there was

a darkening to purple. Winnie, newl\f brave with her thoughts\r of being rescued, climbed boldl\r\f into the rowboat. The

hard heels of her butt\roned boots made a h\rollow banging sound aga\rinst its wet boards, loud in the warm and breath-

less \buiet. Across the pond a bullfr\rog spoke a deep note of warning. Tuck climbed in, too, pushing off, and, settling

the oars into their locks, dippe\rd them into the silt\f bottom in one strong pull. The rowboat slipped from the bank

then, silentl\f, and glided out, ta\rll water grasses whispering awa\f from its sides, releasing it.

Here and there the still surface of the water dimpled, and brigh\rt rings spread noiselessl\f and vanished. “Feeding

time,” said Tuck softl\f. And Winnie, looking down, saw hosts of tin\f insects skittering and skating on the surface.

“Best time of all for fishing,” he said, “when th\re\f come up to feed.”

He dragged on the oars. \rThe rowboat slowed and began to drift gentl\f toward the farthest end of the pond. \rIt was so

\buiet that Winnie almost jumped when the b\rullfrog spoke again. And then, \rfrom the tall pines \rand birches that ringed

the pond, a wood thrush caroled. The silver notes were pure and clear and lovel\f.

“Know what that is, all around us, Winnie?” said Tuck, his voice low. “Life. Moving, growing, changing, never the same

two minutes together. This water, \fou look out at it ever\f morning, and it \rlooks the same, but it ain’t. Al\rl night long it’s

been moving, coming in through the stream back there to the west, slipping out th\rrough the stream down east here,

alwa\fs \buiet, alwa\fs new, moving on. You can’t hardl\f see the current, can \fou? And sometimes t\rhe wind makes it

look like it’s going the other w\ra\f. But it’s alwa\fs there, the water’s alwa\fs moving on, and someda\r\f, after a long while,

it comes to the ocean.”

Singer, Isaac Bashevis. “Zlateh the Goat.” Zlateh the Goat and Other Stories. New York: HarperCollins, 2001. (1984)

The snow fell for three da\fs, though after the first da\f it was not as thick and\r the wind \buieted down. Sometimes

Aaron felt that there could never have been a summer, that the snow had alwa\fs fallen, ever since he could remember.

He, Aaron, never had a father or mother or si\rsters. He was a snow child, born of the\r snow, and so was Zlateh. It was

so \buiet in the ha\f that his ears rang in the stillness. Aaron and Zlateh slept all night\r and a good part of \rthe da\f. As

for Aaron’s dreams, the\f were all about warm weather. He dreamed of green fields, trees covered with blossoms, clear

brooks, and singing b\rirds. B\f the third night the snow had stopped, but Aaron did not dare to find his wa\f home in

the darkness. The sk\f became clear and th\re moon shone, casting silver\f nets on the sno\rw. Aaron dug his wa\f out and

looked at the world. It was all white, \buiet, dreaming dreams of heavenl\f splendor. The stars were large and close. The

moon swam in the sk\f as in a sea.

Hamilton, Virginia. M. C. \biggins, the Great . New York: Simon & Schuster, 1999. (1993)

From Chapter 1

Ma\fo Cornelius Higgins raised his arms high\r to the sk\f and spread them wide. He glanced furtivel\f around. It was all

right. There was no one to see him greeting the coming sunrise. But the motion o\rf his arms caused a \rflutter of lettuce

leaves he had bound to his wrists with rubber bands\r. Like bracelets of green feathers, the leaves commenced to wave.

M. C., as he was called, felt warm, moist air surround him. Humidit\f t\rrapped in the hills \rclung to the mountainside \r Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

as the night passed on. In seconds, his skin grew clamm\f. But he paid no attention to the oppressive heat with its

odors of summer growth and deca\f. For he was staring out over a grand sweep of hill, whose\r rolling outlines grew

clearer b\f the minute. As he stood on the galler\f o\rf his home, the outcropping on which he \rlived on the mountains\ride

seemed to fade out from under him.

I’m standing in midair, he thought.

He saw dim light touch clouds clustered behind the eastern hills.

Bounce the sun beside me\r if I want.

All others of his f\ramil\f were still asleep in the\r house. To be b\f himself in the pe\rrfect \buiet was reason enough for

him to wake up wa\f earl\f. Alone for half an hour, he could believe he had been chose\rn to remain forever suspended,

facing the hills. He\r could pretend there was nothing terrible behind him, \rabove his head. Arms ou\rtstretched, picture-

framed b\f pine uprights sup\rporting the galler\f \rroof, he was M.C. Higgins, higher \rthan ever\fthing.

Erdrich, Louise. The Birchbark \bouse. New York: H\fperion, 1999. (1999)

From Chapter 1: “The Birchbark House”

She was named Omaka\fas, or Little Frog, because her first step was a hop. She grew into a nimble \foung girl of seven

winters, a thoughtful g\rirl with shining br\rown e\fes and a wide grin, \ronl\f missing her two top front teeth. She touched

her upper lip. She wasn’t used to those teeth gone, and was impatient for new, grown-up teeth to complete her smile.

Just like her namesake, Omaka\fas now stared long at a silk\f patch of bog before she gathered herself and jumpe\rd.

One hummock. Safet\f. Oma\fka\fas sprang wide again. This time she landed\r on the ver\f tip-top of a pointed old

stump. She balanced there, looking all around. The lagoon water moved in sparkling crescents. Thick swales of swamp

grass rippled. Mud turtl\res napped in the su\rn. The world was so calm that Omaka\fas could hear herself bl\rink. Onl\f the

sweet call of a solit\rar\f white-throated sparrow pierced the cool of the woods be\fond.

All of a sudden Grandma \felled.

“I found it!”

Startled, Omaka\fas slipped and spun\r her arms in wheels\r. She teetered, but somehow kept her balance. Two big, skip-

ping hops, another \rleap, and she was on dr\f land. She \rstepped over spong\f leaves and moss, into the woods where

the sparrows sang nesting songs in delic\rate rela\fs.

“Where are \fou?” Nokomis \felled again. “I found the tree!”

“I’m coming,” Omaka\fas called back to her grandmother.

It was spring, time to cut Birchbark.

Curtis, Christopher Paul. Bud, Not Buddy. New York: Delacorte Books \bor Young Readers, 1999. (1999)

(Also listed as a read-aloud narrative \bor grades 2–3)

From Chapter 1

Here we go again. We were all standing in line waiting for breakfast when one of the \rcaseworkers came in and tap-\r

tap-tapped down the line. Uh-oh, this mean\rt bad news, either the\f’d found a foster home for somebod\f or some-

bod\f was about to get paddled. All t\rhe kids watched the woman as she moved along the line, her high-heeled s\rhoes

sounding like little fire-crackers going off on th\re wooden floor.

Shoot! She stopped at me and said, “Are \fou Budd\f Caldwell?”

I said, “It’s Bud, not Budd\f, ma’am.”

She put her hand on\r m\f shoulder and took me out of the \rline. Then she pulled Jerr\f\r, one of the littl\rer bo\fs, over.

“Aren’t \fou Jerr\f Clark?” He \rnodded.

“Bo\fs, good news! Now that the school \fear has ended, \fou both have been accepted in new temporar\f-care homes

starting this afternoon!”

Jerr\f asked the same thing I\r was thinking, “Together?”

She said, “Wh\f no, Jerr\f, \fou’ll b\f in a famil\f with three little girls…” Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Jerr\f looked like he’d just found out the\f were going to dip him in a pot \rof boiling milk.

“…and Bud…” She loo\rked at some papers she w\ras holding. “Oh, \fes, the Amoses, \fou’ll be with Mr. and Mrs. Amos and \r

their son, who’s twelve \fears old, that makes him just two \fears older than \fou, doesn’t it, Bud\r?”

“Yes, ma’am.”

She said, “I’m sure \fou’ll both be ver\f happ\f.”

Me and Jerr\f looked at each other.

The woman said, “Now, now, bo\fs, no need to look so glum, I \rknow \fou don’t understand what it means, but th\rere’s a

depression going on all \rover this countr\f. People can’t find job\rs and these are ver\f, ver\f difficult times f\ror ever\fbod\f.

We’ve been luck\f enough to find two wonderful families who’ve opened their doors\r for \fou. I think it’s best that we

show our new foster families that we’re ver\f…”

She dragged out the word ver\f, waiting for us to finish her sentence for her.

Jerr\f said, “Cheerful\r, helpful and grateful.” I moved m\f lips and mumbled.

Lin, Grace. Where the Mountain Meets the Moon. New York: Little, Brown, 2009. (2009)

From Chapter 1

Far awa\f from here, following the Jade River, there was once a black mountain \rthat cut into the sk\f like a jagged

piece of rough metal. The villagers called \rit Fruitless Mountain because \rnothing grew on it and birds and animals did

not rest there.

Crowded in the corner of where Fruitless Mountain and the \rJade River met was a village that was a shade of faded

brown. This was because the land\r around the village was hard and poor. To coax rice out of the stubborn land, the

field had to be flooded with water. The villagers had to tramp in the mud, ben\rding and stooping and planting\r da\f

after da\f. Working in the mud s\ro much made it spread ever\fwhere and the hot sun d\rried it onto their clothes and \rhair

and homes. Over time, ever\fthing in the vil\rlage had become the dull color of dried mud.

One of the houses \rin this village was so small that its wood boards, held together b\f the roof, made one think of\r a

bunch of matches tied with a pi\rece of twine. Inside, there was barel\f enough room for three people to sit around the

table—which was luck\f because onl\f three people lived there. One of them was a \foung girl called Min\rli.

Minli was not brown and dull like the rest of the village. She had gloss\f black hair with pi\rnk cheeks, shining \re\fes al-

wa\fs eager for adventure, and a fast smile that flashed from her face. When people saw her livel\f and impulsive spirit,

the\f thought her name, which meant \buick thinking, suited her well. “Too well,” her mother sighed, as Minli had a habit

of \buick acting as w\rell.

Poetr\f

Blake, William. “The Echoing Green.” Songs of Innocence. New York: Dover, 1971. (1789)

The sun does arise,

And make happ\f the skies;

The merr\f bells ring

To welcome the Spring;

The sk\flark and thrush,

The birds of the bush,

Sing louder around

To the bells’ cheerf\rul sound;

While our sports sh\rall be seen

On the echoing green.

Old John, with whit\re hair,

Does laugh awa\f care,

Sitting under the o\rak,

Among the old folk.

The\f laugh at our pla\f, Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

And soon the\f all sa\f,

‘Such, such were the jo\fs

When we all—girls and bo\fs—

In our \fouth-time were seen

On the echoing green.’

Till the little one\rs, wear\f,

No more can be merr\f:

The sun does descend,

And our sports have an end.

Round the laps of th\reir mothers

Man\f sisters and brothers,

Like birds in their nest,

Are read\f for rest,

And sport no more seen

On the darkening green.

Lazarus, Emma. “The New Colossus.” Favorite Poems Old and New. Edited b\f Helen Ferris. New York: Doubleda\f,

1957. (1883)

Not like the brazen giant of Greek fame

With con\buering limbs astride from land to land;

Here at our sea-washed, sunset gates shall stand

A might\f woman with a torch, whose flame

Is the imprisoned l\rightning, and her n\rame

Mother of Exiles. F\rrom her beacon-hand

Glows world-wide welcome; her mild e\fes command

The air-bridged harbor\r that twin cities frame.

“Keep, ancient lands, \four storied pomp!” cries s\rhe

With silent lips. “\rGive me \four tired, \four poor,

Your huddled masses \fearning to breathe free,

The wretched refuse of \four teeming shore.

Send these, the homeless, tempest-tossed to me,

I lift m\f lamp beside the g\rolden door!”

Media Text

Photos, multimedia, and \na virtual tour of the Statue of Liberty, hosted on the National Parks Service’s Web site: http://

www.nps.gov/stli/photosmultimedia/index.htm

Tha\fer, Ernest Lawrence. “Case\f at the Bat.” Favorite Poems Old and New. Edited b\f Helen Ferris. New York:

Doubleda\f, 1957. (1888)

The outlook wasn’t brilliant for the Mudville nin\re that da\f;

The score stood four to two with but one inn\ring more to pla\f.

And then when Coone\f died at first, and Barrows did the same,

A sickl\f silence fell upon the patrons of the game.

A straggling few got up to go in deep despai\rr. The rest

Clung to that hope which spring\rs eternal in the human \rbreast;

The\f thought if onl\f C\rase\f could but get a whac\rk at that–

We’d put up even mone\f now with Case\f at the bat.

But Fl\fnn preceded Case\f, as did also Jimm\f Blake,

And the former was a lulu and the l\ratter was a cake;

So upon that stricken multitude grim m\relanchol\f sat,

For there seemed but little\r chance of Case\f’s getting to the bat.

But Fl\fnn let drive a single, to the wonderment of all,

And Blake, the much despis-e\rd, tore the cover off the ball;

And when the dust had lifted, and the men saw what had occurred,

There was Johnnie safe at second and Fl\fnn a-hugg\ring third.

Then from 5,000 throats and more there rose a lust\f \fell;

It rumbled through the valle\f, it rattled in the dell; \r

It knocked upon the mountai\rn and recoiled upon the flat, Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

For Case\f, might\f Case\f, was advancing to the bat.

There was ease in Case\f’s manner as he stepped into his place;

There was pride in Case\f’s bearing and a smi\rle on Case\f’s face.

And when, responding to the cheers, he li\rghtl\f doffed his hat,

No stranger in the crowd could doubt ‘twas Case\f at the bat.

Ten thousand e\fes were on him as he rubb\red his hands with di\rrt;

Five thousand tongues applauded wh\ren he wiped them on\r his shirt.

Then while the writh\ring pitcher ground the ball into his hip,

Defiance flashed in Case\f’s e\fe, a sneer curled Cas\re\f’s lip.

And now the leather-covered sphere came hurtling through the air,

And Case\f stood a-watching it in haught\f\r grandeur there.

Close b\f the sturd\f batsman the ball unh\reeded sped–

“That ain’t m\f st\fle,” said Case\f. “Strike one,” the umpire said.

From the benches, bla\rck with people, there went up a muffled roar,

Like the beating of the storm-waves on a stern and distant shore.

“Kill him! Kill th\re umpire!” shouted some one on the \rstand;

And it’s likel\f the\f’d have killed him had no\rt Case\f raised his hand.

With a smile of Chri\rstian charit\f great Case\f’s visage shone;

He stilled the rising t\rumult; he bade the \rgame go on;

He signaled to the pitcher, and once more the sphereoid flew;

But Case\f still ignored it, and the umpi\rre said, “Strike two.”

“Fraud!” cried the madde\rned thousands, and e\rcho answered fraud;

But one scornful look from Case\f and the audience was awed.

The\f saw his face grow stern and cold, the\f saw his muscles strain,

And the\f knew that Case\f wouldn’t let that ball go b\f again.

The sneer is gone fr\rom Case\f’s lip, his teeth are clenched in hate;

He pounds with cruel\r violence his bat upon the plate.

And now the pitcher holds the ball,\r and now he lets it go,

And now the air is shattered b\f the force of Case\f’s blow.

Oh, somewhere in this favored land the sun is \rshining bright;

The band is pla\fing somewhere, and somewhere hearts are light,

And somewhere men are laughing, and som\rewhere children shout;

But there is no jo\f in Mudville–might\r\f Case\f has struck out.

Dickinson, Emil\f. “A Bird Came Down the Walk.” The Compete Poems of \fmily Dickinson. Boston: Little, Brown,

1960. (1893)

A Bird came down the walk—

He did not know I saw;

He bit an angleworm in halves

And ate the fellow, raw.

And then he drank a dew

From a convenient grass,

And then hopped side\rwise to the wall

To let a beetle pas\rs.

He glanced with rapid e\fes

That hurried all abroad—

The\f looked like frightened beads, I thoug\rht—

He stirred his velvet head —

Like one in danger; cau\rtious,

I offered him a crumb,

And he unrolled his feathers Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

And rowed him softer home

Than oars divide the \rocean,

Too silver for a seam,

Or butterflies, off banks o\rf noon,

Leap, plashless, as the\f swim.

Sandburg, Carl. “Fog.” Chicago Poems. New York: Henr\f Holt, 1916. (1916)

The fog comes

on little cat feet.

It sits looking

over harbor and cit\f

on silent haunches

and then moves on.

Frost, Robert. “Dust o\b Snow.” The Poetry of Robert Frost: The Collected Poems, Complete and Unabridged . New

York: Henr\f Holt, 1969. (1923)

Dahl, Roald. “Little Red Riding Hood and the Wol\b.” Roald Dahl’s Revolting Rhymes. New York: Knop\b, 2002. (1982)

Nichols, Grace. “The\f Were M\f People.” Come On Into My Tropical Garden. New York: HarperCollins, 1990. (1988)

Mora, Pat. “Words Free As Con\betti.” Confetti: Poems for Children. Illustrated b\f Enrique O. Sanchez. New York: Lee

and Low, 1999. (1996)

Come, words, come in \four ever\f color.

I’ll toss \fou in storm or breeze.

I’ll sa\f, sa\f, sa\f \fou,

Taste \fou sweet as plump plums\r,

bitter as old lemons,

I’ll sniff \fou, words, warm

as almonds or tart a\rs apple-red,

feel \fou green

and soft as new grass,

lightweight as dandelion \rplumes,

or thorngra\f as cactus,

heav\f as black cement,

cold blue as icicles,\r

warm as abuelita’s \fellowlap.

I’ll hear \fou, words, loud as searoar’s

Purple crash, hushed

as gatitos curled in sleep,

as the last goldlullab\f.

I’ll see \fou long and dark as \rtunnels,

bright as rainbows,

pla\fful as chestnutwind.

I’ll watch \fou, words, rise and dance and spin.

I’ll sa\f, sa\f, sa\f \fou

in English,

in Spanish,

I’ll find \fou.

Hold \fou.

Toss \fou.

I’m free too.

I sa\f yo soy libre,

I am free

free, free,

free as confetti.

arranged with Lee & Low Books Inc, New York, NY 10016. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Sample Per\bormance Tasks \bor Stories and Poetr\f

• Students make connections between the visual presentation of John Tenniel’s illustrations in Lewis Carroll’s

Alice’s Adventures in Wonderland and the text of the stor\f to identify how the pictures of Alice reflect specific

descriptions of her in the text . [ RL.4.7]

• Students explain the selfish behavior b\f Mar\f and make inferences regarding the impact of the cholera out -

break in Frances Hodgson Burnett’s The Secret Garden b\f explicitly referring to details and examples from the

text . [RL.4. 1]

• Students describe how the narrator’s point of view in Walter Farle\f’s The Black Stallion influences how events

are described and how the reader perceives the character of Alexander Ramsa\f, Jr. [RL.5. 6]

• Students summarize the plot of Antoine de Saint-Exupér\f’s The Little Prince and then reflect on the challenges

facing the characters in the story while emplo\fing those and other details in the text to discuss the value of

in\buisitiveness and exploration as a theme of the story. [RL.5. 2]

• Students read Natalie Babbitt’s Tuck \fverlasting and describe in depth the id\fllic setting of the stor\f, draw-

ing on specific details in the text , from the color of the sk\f to the sounds of the pond, to describe the scene.

[ RL.4. 3]

• Students compare and contrast coming-of-age stories b\f Christopher Paul Curtis ( Bud, Not Buddy) and Louise

Erdrich ( The Birchbark \bouse ) b\f identif\fing similar themes and examining the stories’ approach to the topic

of growing up. [RL.5.9]

• Students refer to the structural elements (e.g., verse, rhythm, meter) of Ernest Lawrence Tha\fer’s “Case\f at the

Bat” when anal\fzing the poem and contrasting the impact and differences of those elements to a prose sum-

mar\f of the poem. [ RL.4. 5]

• Students determine the meaning of the metaphor of a cat in Carl Sandburg’s poem “Fog” and contrast that

figurative language to the meaning of the simile in William Blake’s “The Echoing Green.” [RL. 5.4]

In\bormational Texts

Berger, Melvin. Discovering Mars: The Amazing Story of the Red Planet . New York: Scholastic, 1992. (1992)

Mars is ver\f cold and ver\f dr\f. Scattered across the surface are man\f giant volcanoes. Lava covers much of the lan\rd.

In Mars’ northern ha\rlf, or hemisphere, is a huge raised area. It is about 2,\r500 miles wide. Astronomers call this t\rhe

Great Tharsis Bulge.

There are four mammoth volcanoes on the Great Tharsis Bulge. The largest one is Mount Ol\fm\rpus, or Ol\fmpus Mon\rs.

It is the biggest mountain on Mars.\r Some think it ma\f be the largest mountain in the \rentire solar s\fstem.

Mount Ol\fmpus is 15\r miles high. At its peak is a 50\r mile wide basin. I\rts base is 375 miles across. That’s nearl\f as big as \r

the state of Texas!

Mauna Loa, in Hawaii, is the largest volcano on earth. Yet, compared to Mount Ol\fmpus, Ma\runa Loa looks like a little

hill. The Hawaiian volcano is onl\f 5½ m\riles high. Its bas\re, on the bottom of the Pacific Ocean, is just 124 miles wide.

Each of the three other volcanoes in the Great Tharsis Bulge are over 10 miles high. T\rhe\f are named Arsia Mons,\r Pa-

vonis Mons, and Ascraeus Mons.

Media Text

NASA’s illustrated fact sheet on Mars: h\nttp://www.nasa.gov/worldbook/mars_worldbook.html Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Carlisle, Madel\fn Wood. Let’s Investigate Marvelously Meaningful Maps. Hauppauge, New York: Barrons, 1992.

(1992)

Lauber, Patricia. \burricanes: \farth ’s Mightiest Storms. New York: Scholastic, 1996. (1996)

From “The Making o\b a \oHurricane”

Great whirling storms roar out of the oceans in man\f parts of the world. The\f are called b\f several names—hurricane,

t\fphoon, and c\fclone are the three most familiar ones. But n\ro matter what the\f are called, the\f are all the same sort\r

of storm. The\f are born in the same \rwa\f, in tropical waters. The\f develop the same wa\f, feeding on warm, moist air.

And the\f do the same kind o\rf damage, both ashore and at sea. Other storms ma\f cover a bigger area or have higher

winds, but none can\r match both the size and the fur\f of hu\rrricanes. The\f are earth’s mightiest storms.

Like all storms, the\f take place in the atmosphere, the envelope of air that surrounds the earth and \rpresses on its

surface. The pressure at an\f one place is alwa\fs changing. There are da\fs when air is sinki\rng and the atmosphere

presses harder on the surface. These are the times of hig\rh pressure. There are da\fs when a lot of ai\rr is rising and the \r

atmosphere does not press down as hard. These are times of low pressure. Low-pressure areas over warm oceans

give birth to hurricanes.

permission of Scholastic, Inc.

Otfinoski, Steve. The Kid’s Guide to Money: \farning It, Saving It, Spending It, Growing It, Sharing It . New York:

Scholastic, 1996. (1996)

Wul\b\bson, Don. Toys!: Amazing Stories Behind Some Great Inventions. New York: Henr\f Holt, 2000. (2000)

Schleichert, Elizabeth. “Good Pet, Bad Pet.” Ranger Rick June 2002. (2002)

Kavash, E. Barrie. “Ancient Mound Builders.” Cobblestone October 2003. (2003)

Koscielniak, Bruce. About Time: A First Look at Time and Clocks . Orlando: Houghton Mi\bflin, 2004. (2004)

Sometime around 1440, the spring-powered clock was invented. Instead of depending on \rthe pull of weights for pow -

er, this t\fpe of clock\r used a flat metal spring wound tightl\f into a coil. The escapement allowed the spring to unwind

b\f turning one gear t\rooth at a time. With the use of a s\rpring, smaller, trul\f portable clo\rcks could be made.

The first well-known watches, made in German\r\f around 1510 b\f Peter Henlein, were so named because \rguards or

“watchmen” carried small \rclocks to keep track of how long to sta\f at a particular dut\f p\rost.

Man\f different skills went into making a clock, a\rnd new tools and methods were constantl\f being invented to make

ever smaller, more complicated mechanisms that worked with greater precision.

Founders melted and poured metal into a mold to make clock parts.

Spring makers hand-forged (heated and pounded into shape) and polished steel clock springs.

Screw makers cut screws used to fasten clocks together b\f using a small lathe devised b\f a German clockmaker in

1480. Earlier, onl\f wedges or pegs were used.

Gear-tooth cutting had be\ren done b\f hand until the mi\rd-1500s, when Gianne\rlo Torriano of Cremona, Ital\f, invented a

machine that could cut perfect gear teeth. Brass replaced iron for clock making.

Engravers, gilders, and en\ramellers decorated clock cases and di\rals.

Glass -making shops ma\rde and cut glass.

Woodworkers made clock cases.\r

niak. Used by permission of \boughton Mifflin \barcourt Publishing Company. All rights reserved. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Banting, Erinn. \fngland the Land . New York: Crabtree, 2004. (2004)

From “Living Fences”

Low fences, some of which a\rre thousands of \fears old, divide much\r of England’s countr\fside. These fences, called

hedgerows, were fist build b\f the Anglo-Saxons, a group of warriors from German\f and Scandinavia who arrived in

England around 410 A.D. As the\f gained control of sections of l\rand, the\f protected their propert\f with walls made

from wooden stakes and spin\f plants. Dead hedge\rrows, as these fences were called, were eventuall\f replaced b\f

fences made from live bushes and trees.

Recentl\f, people building l\rarge farms and homes in t\rhe countr\fside have destro\fed man\f live hedgerows. Other

people are working to save the hedgerows, which are home to a variet\f of wildlife, including birds, butterflies, hedge-

hogs, and hares.

Hakim, Jo\f. A \bistory of US . Ox\bord: Ox\bord Universit\f Press, 2005. (2005)

From Book 1: The First Americans, Prehistor\f to 1600; Chapter 7: “The Show-O\b\bs”

In case \fou forgot, \fou’re still in that time-and-space capsule, but \fou’re not a bab\f an\fmore. You’re 10 \fears old and

able to work the controls \fourself. So get going; we want to head northwest, to the ver\f edge of the land\r, to the re-

gion that will be the states of Washington and Oregon. The time? We were in the 13

th centur\f; let’s tr\f the 14 th centur\f

for this visit.

Life is eas\f for the Indians here in the Northwest near the great ocean. The\f are affluent (AF-flew-ent –it means

“wealth\f”) Americans. For them the world is bountiful: t\rhe rivers hold salmon and \rsturgeon; the ocean is full of sea\rls,

whales, fish, and sh\rellfish; the woods are swarming with game an\rimals. And there are berries and nuts a\rnd wild roots

to be gathered. The\f are not farmers. The\f don’t need to farm.

Those Americans go t\ro sea in giant cano\res; some are 60 feet long. (How long is \four bedroom? Your schoolroom?)

Using stone tools and fire, Indians of the No\rrthwest cut down gigantic fir trees and hollow out the logs to make their

boats. The trees tower 200 feet and are 10 feet across at the base. There are so man\f of them, so close\r together, with

a tangle of undergrowth, that it is sometimes \rhard for hunters to get through the forest. Tall as these trees are, there

are not as big as th\re redwoods that grow in a vast forest to the south (in th\re land that will become California).

Media Text

“American Indians of the Pacific Northwest Collection,” a digital archive of images and document\ns hosted by the Uni-

versity of Washington: http://content.lib.washington.edu/aipnw/

Ruurs, Margriet. My Librarian Is a Camel: \bow Books Are Brought to Children Around the World . Honesdale, Penn.:

Bo\fds Mills Press, 2005. (2005)

From “Peru”

Children in Peru can receive their book in several different, innovative wa\fs.

CEDILI-IBBY Peru is an institution that delivers books in bags t\ro families in Lima. E\rach bag contains twent\f books,

which families can keep for a month. The books come in four different reading levels so that children reall\f learn how

to read. This project in Spanish is\r called El Libro Compartido en Familia and enables \rparents to share the jo\f of books

with their children.

In small, rural communities, books \rare delivered in wooden suitcases and plastic bags. These suitcases and bags con-

tain books that the communit\f can keep and share for the next three months. The number of books \rin each suitcase

depends on the size of the communit\f. There are no librar\f buildings in the\rse small towns, and people gather outside,

in the plaza, to see books the\f can check out. In \rthe coastal regions, books are sometimes delivered b\f donke\f cart.

The books are stored in the reading promoter’s home.

In the ancient cit\f \rof Cajamarca, reading promoters from various rural areas select and receive a large collection of

books for their area. The program is called Aspader\ruc. The reading promoter lends these book\rs to his or her neigh-

bors, and after three months, a new selection of book\rs goes out to each area. Books in this \rs\fstem are for children

and adults.

And last but not least, Fe Y Alegria brings \ra collection of children’s books to rural schools. The books are brought

from school to school b\f wagon. The children, who are excited about browsing through the books whe\rn the\f arrive,

are turning into avid readers. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Simon, Se\fmour. \borses. New York: HarperCollins, 2006. (2006)

Horses move in four natural wa\fs, called gaits or p\races. The\f walk, trot, canter, and gallop. The walk is the slowest

gait and the gallop\r is the fastest.

When a horse walks, each hoof lea\rves the ground at a different time. It moves one hind leg firs\rt, and then the front

leg on the same si\rde; then the other \rhind leg and the ot\rher front leg. When a ho\rrse walks, its bod\f swings gentl\f with

each stride.

When a horse trots, its legs move in pairs, left fr\ront leg with right \rhind leg, and right \rfront leg with left \rhind leg. When

a horse canters, the hind legs \rand one front leg move together, and then the hind\r legs and the other\r foreleg move

together.

The gallop is like a much faster walk, where each hoof hits th\re ground one after another. When a horse gall\rops, all

four of its hooves ma\f be fl\fing off the \rground at the same time.

Horses are usuall\f described b\r\f their coat colors and b\f the white markings on their\r faces, bodies, legs, a\rnd hooves.

Brown horses range in color from dark brown ba\fs and chestnuts to golden browns, such as palomi\rnos, and lighter

browns such as roans and duns.

Partl\f colored horses are called pintos or paints. Colorless, pure-white horses—albinos—are rare. Most horses that look

white are actuall\f gra\f.

Skewbalds have brown-and-white patches. Piebalds have black and white patches. Spotteds have dark spots on a

white coat or white spots on a dark coat.

Used by permission of \barperCollins Publishers.

Montgomer\f, S\f. Quest for the Tree Kangaroo: An \fxpedition to the Cloud Forest of New Guinea . Orlando:

Houghton Mi\bflin, 2006. (2006)

From “Marsupial Mania\o”

Stuart Little, the small mouse \rwith big parents, had nothing o\rn bab\f marsupials. Marsup\rials (“mar-SOUP-ee-\rulz”) are

special kinds of ma\rmmals. Even the biggest ones give birth to babies that are incredibl\f small. A two-hundred-pound

six-foot mother kangaroo, for instance, gives birth to a bab\f as small as a lim\ra bean. That’s what makes marsupials

marsupials. Their babies are born so tin\f that in order to survive the\f must live in a pouch on the\r mother’s tumm\f.

The pouch is called a\r marsupium. (Don’t \r\fou wish \fou had one?)

A bab\f marsupial lives hidden in the mo\rther’s warm moist pouch for months. There it sucks milk from a nipple like

other bab\f mammals. One da\f it’s big enough to poke its head out to see the world. The European explorers who saw

kangaroos for the first time in Australia reported the\f had discovered a two-headed animal—with one head on th\re

neck and another in \rthe bell\f.

North America has on\rl\f one marsupial. Y\rou ma\f have seen it: The Virginia opossum actuall\f lives in most of the

United States, not just Virginia. South Americ\ra also has marsupia\rls. But most marsupials live in or near Australia. The\f

include the koala (which is not \ra bear), two species of wombat, the tooth\f black Tasmania devil, four species of black\r

and white spotted “native cats” (though the\f’re not cats at all), and man\f others.

The most famous marsupials, h\rowever, are the kangaroos. All kangaroos hop—some of th\rem six feet high and faster

than fort\f miles an hour. More than fift\f different species of kangaroo hop around on the ground—from the big red

kangaroo to the musk\f rat kangaroo.

\fxcerpt from QU\fST FOR T\b\f TR\f\f KANGAROO: An \fxpedition to the Cloud Forest of New Guinea by Sy Montgom-

Simon, Se\fmour. Volcanoes. New York: HarperCollins, 2006. (2006)

In earl\f times, no \rone knew how volcanoes formed or wh\f the\f spouted red-hot molten rock. In modern times\r, scien-

tists began to stud\f volcanoes. The\f still don’t know all the answers, but the\f know much about how a volcano works.

Our planet is made \rup of man\f la\fers of rock. The top la\fers of solid rock are called the crust. Deep beneath the crust

is the mantle, where it is so hot tha\rt some rock melts. The melted, or molten, rock is called magma.\r Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Volcanoes are formed when magma pu\rshes its wa\f up through the crack in Earth’s crust. This is called a volcanic

eruption. When magm\ra pours forth on the surface, it is called lava.

Nelson, Kadir. We Are the Ship: The Story of Negro League Baseball . New York: Jump at the Sun, 2008. (2008)

From “4th Inning: Rac\oket Ball: Negro League Owners”

Most of the owners didn’t make much mone\f from their teams. Baseball was just a hobb\f for them, a wa\f to make

their illegal mone\f look good. To save mone\f, each team would onl\f carr\f fifteen or sixteen pla\fers. The major league

teams each carried abo\rut twent\f-five. Average salar\f for each pla\fer started at roughl\f $125 per mon\rth back in ‘34,

and went up to $500-$800 during \rthe forties, though ther\re were some who made muc\rh more than that, like Satchel

Paige and Josh Gibso\rn. The average major league pl\ra\fer’s salar\f back then w\ras $7,000 per month. We also got

around fift\f cents to a dollar per da\f for food allowance. Back then \fou could get a decent meal for about twent\f-five

cents to sevent\f-five cents.

Some of the owners didn’t treat their pla\fers ver\f well. Didn’t pa\f them enough or on\r time. That’s wh\f we would

jump from team to team. Other owners would offer us more mone\f, and we would leave our teams and go pla\f for

them. We were some of the first unrestricted free agents.

There were, however, a few owners who did know how to treat their ballpla\fers. Cum Pose\f was one of them. He\r

alwa\fs took care of his ballpla\fers, put them in th\re best hotels, and paid them \rwell and on time. Buck Leonard said

Pose\f never missed a pa\fda\f in the seventeen \fears he pla\fed for the Gra\fs.

Cutler, Nellie Gonzalez. “Ken\fa’s Long Dr\f Season.” Time for Kids September 25, 2009. (2009)

Hall, Leslie. “Seeing E\fe to E\fe.” National Geographic \fxplorer September 2009. (2009)

A hungr\f falcon soars high above Earth. Its sharp \re\fes scan the ground. Suddenl\f, it spies somethi\rng moving in the

grass. The falcon dives toward it.

Far below, a gra\f field mouse scurries\r through the grass. Its dark, bead\f e\r\fes search constantl\f for danger. With e\fes

on either side of i\rts head, the mouse \rcan see almost ever\fthing around it.

Will the mouse see \rthe falcon in time to escape? Or, will the speed\f f\ralcon catch the pre\f it spied from far above?

Whatever happens, one thi\rng is clear: Without e\fes, neither animal \rhas a good chance.

Wh\f? E\fes help man\f animals make sense of the world around them - and surv\rive. E\fes can guide the falcon to din-

ner or help the mou\rse see a perfect place to hide.

Animal e\fes come in man\f different shapes, sizes, colors, and even numbers. Yet the\f do the same job. The\f all catch

light. With help from the brain, e\fes turn light into sight.

E\fes work in the same wa\f for people. Look at this page. You ma\f think \fou see words and pictures. Believe it or not,

\fou don’t. All \fou see is light bo\runcing off the page\r. How is this possible? The secret is in the rules \rof light.

Light Rules

Light is a form of energ\f, like heat or sound. It can c\rome from a natural source, like the sun, or artifi\rcial sources, like a

lamp or a flashlight\r.

Light is the fastest known thing. It travels in waves and in nearl\f straight lines. In ai\rr, it can speed 299,700 kilometers

(186,200 miles) per second. It can race from the sun to Earth in just over eight minutes! Light doesn’t a\rlwa\fs travel so

fast. For example, water or glass can slow light down, but just a bit.

Light ma\f seem to break all driving spe\red laws. Yet there are certain rules it alw\ra\fs follows. Light reflects, or bounces

off objects. It als\ro refracts, or bends. And \rit can be absorbed, \ror soaked up, b\f objects. These rules of light\r affect

what, and how, we see. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Light! E\fes!

Imagine this scene: You’re at \four desk happil\f reading Explorer magazine. Light from \four desk lamp scatters in all

directions.

Light hits the pag\re. Some bounces off the page, or reflects. It changes \rdirection. It’s a little like how sound bounces

off a wall. Now some of this reflected light is traveling right toward \four face. Don’t duck! For \fou to see Explorer,

some of this light\r has to enter \four e\fes. Objects become visible when l\right bounces off them.

Your e\fes are light catchers. Yet it takes more than catching light to see an image. Your e\fes also have to bend light.

Here’s how.

First, light hits \four cornea. That’s the clear covering on the front of \four e\feball. The cornea refracts, or bends, ligh\rt.

And Action!

Is \four cornea super strong? No! Think about how light travels more slowl\f through water. The same thing happ\rens in

\four cornea. As light pas\rses through the cornea, it slows down. That makes the light change\r direction, or bend.

Next, light enters \four pupil, the dark \rcenter part of \four e\fe. It passes through \four lens. The lens bends light\r, too.

What’s the big deal abou\rt bending light? That’s how \four e\fes focus, or aim the li\rght to make a clear image.

The image appears on\r \four retina at the back of \four e\feball. It’s like a movie. Pla\fing Toda\f at a Theater in Your E\fe:

Explorer magazine! There’s onl\f one problem. The image is upside \rdown. Luckil\f, \four brain flips the image\r right side

up. That’s prett\f smart!

Ronan, Colin A. “Telescopes. ” The New Book of Knowledge . New York: Scholastic, 2010. (2010)

You can see planets,\r stars, and other obje\rcts in space just b\f looking up on a c\rlear night. But to reall\f see them--to

observe the craters on the moon, th\re rings around Saturn, and the countless other wonders in our sk\f--\fou must use

a telescope.

A telescope is an instrument used to produce magnified (enlarged) images of distant objects. It do\res this b\f gather-

ing and focusing the light o\rr other forms of electromagnetic radiation emitted or reflected b\f those objects. The word

“telescope” comes from two Greek words meaning “far” and “see.”

Kinds o\b Telescopes

There are man\f different t\fpes of telescopes, both optical \rand non-optical. Op\rtical telescopes are designed to focus

visible light. Non\r-optical telescopes are designed to detect kinds of electromagnetic radiation that are invisible to

the human e\fe. These include radio waves, infrared radiation, X ra\fs, ultraviolet radiation, and gamma ra\fs. The word

“optical” means “mak\ring use of light.”

Some telescopes are launched into space. These telescopes gain clearer views. And the\f can collect forms of electro-

magnetic radiation that are absorbed b\f the Earth’s atmosphere and do not reach the ground.

Optical Telescopes

Different t\fpes of optica\rl telescopes gather and focus light in different wa\fs. Refracting telescopes, or refractors, use

lenses. Reflecting telescopes, or reflectors, use mirrors. And catadioptric telescopes, or catadioptrics, use a c\rombina-

tion of lenses and \rmirrors. The main lens or mir\rror in an optical telescope is called the objective.

Refracting Telescopes. A refracting telescope is t\fpicall\f a l\rong, tube-shaped in\rstrument. The objective is a s\fstem

of lenses at the front end of the tube\r (the end facing the sk\f). When light strikes the lenses, it \ris bent and brought to

a focus within the tub\re. This forms an image of a \rdistant object. This image can be ma\rgnified b\f the e\fepiece. This

consists of a group of small lense\rs at the back of the t\rube. A camera can replace or be added to the e\fepiece. Then

photographs can be taken of celestial objects. For man\f \fears, these cameras used film. Toda\f most are e\buipped

with charge-coupled devices (CCD’s). These devices use semiconductor chips to electronicall\f capture images. CCD’s

are similar to the devices in home digital \rcameras and video camcorders. However, the CCD’s used b\f astronomers

are usuall\f extremel\f sensitive to light.

Grolier Online. All rights reserved. Reprinted by permission of Scholastic Inc. Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Buckmaster, Henrietta. “Underground Railroad.” The New Book of Knowledge. New York: Scholastic, 2010. (2010)

Sample Per\bormance Tasks \bor In\bormational Texts

• Students explain how Melvin Berger uses reasons and evidence in his book Discovering Mars: The Amazing

Story of the Red Planet to support particular points regarding the topolog\f of the planet. [RI.4.8]

• Students identif\f the overall structure of ideas, concepts, and information in Se\fmour Simon’s \borses (based

on factors such as their speed and color) and compare and contrast that scheme to the one emplo\fed b\f

Patricia Lauber in her book \burricanes: \farth’s Mightiest Storms . [RI.5.5]

• Students interpret the visual chart that accompanies Steve Otfinoski’s The Kid’s Guide to Money: \farning It,

Saving It, Spending It, Growing It, Sharing It and explain how the information found within it contributes to an

understanding of how to create a budget. [RI.4.7]

• Students explain the relationship between time and clocks using specific information drawn from Bruce Kosci -

elniak’s About Time: A First Look at Time and Clocks . [RI.5.3]

• Students determine the meaning of domain-specific words or phrases , such as crust, mantle, magma , and lava,

and important general academic words and phrases that appear in Se\fmour Simon’s Volcanoes. [RI.4.4]

• Students compare and contrast a firsthand account of African American ballpla\fers in the Negro Leagues to

a secondhand account of their treatment found in books such as Kadir Nelson’s We Are the Ship: The Story of

Negro League Baseball , attending to the focus of each account and the information provided b\f each. [RI.4.6]

• Students quote accurately and explicitly from Leslie Hall’s “Seeing E\fe to E\fe” to explain statements the\f make

and ideas the\f infer regarding sight and light. [RI.5.1]

• Students determine the main idea of Colin A. Ronan’s “Telescopes” and create a summary b\f explaining how

key details support his distinctions regarding different t\fpes of telescopes. [RI. 4.2] Common Core State StandardS for engliSh language artS \f literaCy in hiS tory/SoCial S tudieS, SCienCe, and teChniCal Su\bjeCt S

appendix \b |

Gr\fdes 6–8 tex\b exempl\frs

Stories

Alcott, Louisa Ma\f. Little Women. New York: Penguin, 1989. (1868)

From Chapter 2: “A Merr\f Christmas”

“Merr\f Christmas, little daught\rers! I’m glad