Category Archives: Reference

These are materials for teachers and parents, and you’ll find, in this category, teachers copies and answer keys for worksheets, quotes related to domain-specific knowledge in English Language Arts and social studies, and quotes on issues of professional concern. See the Taxonomies page for more about this category.

Term of Art: Youth

“Youth: Typically regarded in sociology as an ascribed status, or socially constructed label, rather than simply the biological condition of being young. The term is used in three ways: very generally, to cover a set of phases in the life-cycle from early infancy to young adulthood; in preference to the rather unsatisfactory term adolescence, to denote theory and research on teenagers, and the transition to adulthood; and, less commonly now, for a set of supposed emotional and social problems associated with growing up in an urban industrial society.”

Excerpted from: Marshall, Gordon, ed. Oxford Dictionary of Sociology. New York: Oxford University Press, 1994.

Book of Answers: Frederick Douglass

“When did Frederick Douglass escape from slavery? The Maryland-born slave (c. 1817-82) escaped in 1838 and traveled to Massachusetts. He published his Narrative of the Life of Frederick Douglass in 1845.”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

Ama Ata Aidoo

Ama Ata Aidoo: (1940-) Ghanaian dramatist, poet, novelist, and short-story writer. Aidoo’s career as a writer began while still an undergraduate at the University of Ghana with the 1964 performance of The Dilemma of a Ghost (pub 1965). Her work, consistently engaged with women’s issues, uses Africa’s oral traditions and styles to place these concerns in the larger context of the African struggle against colonialism, neocolonialism, and exploitation. Aidoo’s second play, Anowa (1970), is set in the late 19th, and is an adaptation of an old Ghanaian legend. In her collection of short stories, No Sweetness Here (1970), Aidoo turns her critical yet compassionate attention to the postindependence era, demonstrating her ability to as a storyteller and witty social critic. Our Sister Killjoy (1979) is an innovative novel which examines, through an interplay of prose and poetry, the maturation of a young Ghanaian woman who travels to Germany and England. Her second novel, Changes: A Love Story (1991), which won the 1992 Africa Section of the Commonwealth Writers’ Prize, recounts the trials and tribulations of the Esi Sekyi, a young educated career woman. In Aidoo’s sensitive depiction of Sekyi’s second marriage to a polygamous man, she explores the uses of Africa’s past to women and men who are attempting to create more meaningful personal and public lives. Aidoo’s other works include her two volumes of poetry, Someone Talking to Sometime (1985) and An Angry Letter in January (1991), and The Eagle and the Chicken and Other Stories (1987) and The Eagle and the Chicken and Other Stories (1987) and Birds and Other Poems (1987), both written for children. Aidoo is one of the most important African writers today.

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Book of Answers: Jamaica Kincaid

“Where was novelist Jamaica Kincaid born? St. John’s, Antigua, in the West Indies, in 1949. Her given name is Elaine Potter Richardson.”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

Daniel Willingham on Prior Knowledge and Inferring

I noted that making inferences is sometimes possible when you lack background knowledge and vocabulary the writer assumed you have, but that doing so is mentally taxing. Much of the reading expected of students (especially in the later elementary grades and beyond) is difficult. It’s not only difficult in terms of vocabulary and knowledge; they read texts with more complex structures, texts that convey abstract and subtle ideas, and they are asked to put these texts to new purposes, like understanding the author’s technique. In short, students don’t do the type of reading where comprehension is smooth and there’s an opportunity to get lost in the story. They mostly read in situations where reading feels like work. What impact do you think that has on students’ attitude toward reading? Do they confuse leisure reading with the reading they do for school? If so, what might be done to disabuse them of that notion?”

Excerpted from: Willingham, Daniel T. The Reading Mind: A Cognitive Approach to Understanding How the Mind Reads. San Francisco: Jossey-Bass, 2017.

Do Not Join Independent Clauses with Commas

[If you’d like a copy of this material to use as a teaching and learning support, click that hyperlink; like almost everything at Mark’s Text Terminal, it’s a Word document, so you may manipulate it freely.]

“Do not join independent clauses with a comma.

     If two or more clauses grammatically complete and not joined by a conjunction are to form a single compound sentence, the proper mark of punctuation is a semicolon.

Mary Shelley’s works are entertaining; they are full of engaging ideas.

It is nearly half past five; we cannot reach town before dark.

It is, of course, equally correct to write each of these as two sentence, replacing the semicolons with periods.

Mary Shelley’s works are entertaining. They are full of engaging ideas.

It is nearly half past five. We cannot reach town before dark.

If a conjunction is inserted, the proper mark is a comma. (Rule 4).

Mary Shelley’s works are entertaining, for they are full of engaging ideas.

It is nearly half past five, and we cannot reach town before dark.

     A comparison of the three forms given above will show clearly the advantage of the first. It is, at least in the examples given, better than the second form because it suggests the close relationship between the two statements in a way that the second does not attempt, and better than the third because it is briefer and therefore more forcible. Indeed, this simple method of indicating relationships between statements is one of the most useful devices of composition. The relationship, as above, is commonly one of cause and consequence.

     Note that if the second clause is preceded by an adverb, such as accordingly, besides, then, therefore or thus, and not by a conjunction, the semicolon is still required.

I never had been in the place before; besides, it was dark as a tomb.

     An exception to the semicolon is worth noting here. A comma is preferable when the clauses are very short and alike in form, or when the tone of the sentence is easy and conversational.

Man proposes, God disposes.

The gates swung apart, the bridge fell, the portcullis was drawn up.

I hardly knew him, he was so changed.

Here today, gone tomorrow.”

Excerpted from: Strunk, William Jr., and E.B. White. The Elements of Style, Fourth Edition. New York: Longman, 2000.

The Devil’s Dictionary: Cupid

“Cupid, n. The so-called god of love. This bastard creation of a barbarous fancy was no doubt inflicted upon mythology for the sins of its deities. Of all unbeautiful and inappropriate conceptions this is the most reasonless and offensive. The notion of symbolizing sexual love by a semisexless babe, and comparing the pains of passion to the wounds of an arrow—of introducing this pudgy homunculus into art grossly to materialize the subtle spirit and suggestions of the work—this is eminently worthy of the age that, giving it birth, laid it on the doorstep of posterity.”

Excerpted from: Bierce, Ambrose. David E. Schultz and S.J. Joshi, eds. The Unabridged Devil’s Dictionary. Athens: The University of Georgia Press, 2000. 

Term of Art: Affectation

“Affectation (noun): Mannered or unnatural speech or writing, or adoption of a style unsuitable to the style or occasion; a stylistic artifice or mannerism.

‘…nor is there in the hall any affectation of language, nor that worn-out rhetoric which reminds you of a broken-winded barrel-organ playing a che la morte, bad enough in prose, but when set up in blank verse awful and shocking in its more than natural deformity….’ George Moore, Confessions of a Young Man”

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

Duke Ellington (Presumably Facetiously) on Jazz and Your Daughter’s Disreputable Boyfriend

“Jazz was like the kind of man you wouldn’t want your daughter to associate with.”

Duke Ellington

Quoted in NY Times Magazine, 12 September 1965

Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.

Alexandre Biyidi, aka Mongo Beti, aka Eza Boto

“Mongo Beti: (Real name Alexandre Biyidi, 1932-2001) Cameroonian novelist, writing in French. Biyidi used the pen name Eza Boto for his first novel, Ville Cruelle (1953). Thereafter, as Mongo Beti, he published Le Pauvre Christ de Bomba (1956; tr. The Poor Christ of Bomba, 1971), Mission terminee (1957; tr Mission to Kala, 1964) and Le Roi miracule (1958; tr King Lazarus, 1971). Taken together, his novels present a picture of social life and attitudes during the French colonial period in Africa. On the surface, Biyidi’s novels are inventive and ribald, but they are also an insistent, satirical attack on colonialism, the misunderstandings it occasioned, and the tragic waste it produced. After a period of silence, Biyidi returned to publishing. Only this time, his work focused on the postindependence rulers and the terrible price ordinary Africans have had to pay under these regimes. The tone of these recent novels has become more serious, fabulous, and allegorical. These works include Perpetue ou l’habitude du Malheur: roman (1974; tr Perpetua and the Habit of Unhappiness, 1978), Remember Ruben (1974; tr 1980) and La ruine presque cocasse d’un polichinelle (1979), which is a sequel to Remember Ruben and has yet to be translated.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.