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English Language Arts
Common Core State Standards
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Complex Characters
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to the st me only once
ab
a
you’d b te capitol, you out the time
een nam
you we
r family
nt
around
e
, the on d governor. B proud as if
ut whe
ly Mex
you wa
n you lo
ic
n
a
te
n
d
in
to
30 Th
the aud
oked
hide fro
eir eye
itori
m
hoarsen s were pinpric those strange um,
ess. You
ks, and
faces.
,w
yo
for word
s, felt y ho are never u faked
our bre
a
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k in yo
like an
ur thro
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.”
’t
,” you w
Yet you
35 Yo
hispere
did. No
u taugh
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t that d
t the fo
This is
Americ ur of us to sp ay but years la
a, Mom
eak up.
ter.
. The u
ndo-ab
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the tree
d
s.
25
c
SPEAK
Circle of Joy
Joy, Keith Mallett. © Keith Mallett Studio, Inc./www.keithmallett.com.
E
R
80
easier tto shield and carry along the length of our elbows to the reach of
palms. I wanted to tell her parents that though I had never held any living
our pal
thing so tiny in my hands, I had never held anything so grand either, a bundle
elaborately complex and yet fragile, encompassing both our past and
so elabo
future.
our fut
Though
Nadira and my soon-to-arrive nephew were not created specifically
Tho
me in mind, I felt as though they were the most magical gifts that could
with m
have blessed my thirtieth year of life. Humbled by my responsibility to
ever ha
them, I silently promised their parents that for the next thirty years and the
thirty aafter that, my heart and soul would be their children’s repozwa, a sacred
where they would always find rest. place w
Cultural Experience
Girls fr
om
Gallery Guadalupita
vi
, Taos,
, New M
New
ex
Mexico.
ico, Mig
uel Mar
tinez. O
il pastel
o
Language Coach
Synonyms synonyms.
including
encircling?
the future in my arms
497
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Different Mediums
vii
(SBEF
Contents in Brief
THE POWER OF IDEAS
Introductory Unit
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E L EM E N T S
UNIT
1
2
3
UNIT
UNIT
A WOR LD
O F I DE AS
UNIT
4
5
6
UNIT
UNIT
viii
THE PLOT THICKENS
Narrative Structure
5&95"/"-:4*4803,4)01 Plot, Conflict, Sequence
83*5*/(803,4)01 Personal Narrative
PEOPLE WATCHING
Characterization and Point of View
5&95"/"-:4*4803,4)01 Narrator, Point of View, Characterization, Motivation
83*5*/(803,4)01 Argument: Literary Criticism
A SENSE OF PLACE
Setting, Mood, and Imagery
5&95"/"-:4*4803,4)01 Setting, Mood, Imagery
83*5*/(803,4)01 Narrative: Short Story
GETTING THE MESSAGE
Theme and Symbol
5&95"/"-:4*4803,4)01 Theme, Symbol
83*5*/(803,4)01 Informative: Analysis of Literary Nonfiction
IDEAS MADE VISIBLE
Author’s Purpose
5&95"/"-:4*4803,4)01 Purpose, Perspective, Tone, Organization, Format
83*5*/(803,4)01 Informative Text: Business Letter
TAKING SIDES
Argument and Persuasion
5&95"/"-:4*4803,4)01 Elements of an Argument, Persuasive Techniques,
Rhetorical Devices
83*5*/(803,4)01 Argument: Persuasive Essay
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T H E AU T HO R ’ S
C RAFT
UNIT
7
8
9
UNIT
UNIT
T H E CLAS S I C
T RA D I T I O N
UNIT
10
11
12
UNIT
UNIT
SPECIAL EFFECTS
The Language of Poetry
5&95"/"-:4*4803,4)01 Form, Rhyme, Sound Devices, Rhythm and Meter,
Figurative Language, Imagery
83*5*/(803,4)01 Informative: Analysis of a Poem
A WAY WITH WORDS
Author’s Style and Voice
5&95"/"-:4*4803,4)01 Elements of Style, Voice
83*5*/(803,4)01 Informative: Analysis of an Author’s Style
PUTTING IT IN CONTEXT
History, Culture, and the Author
5&95"/"-:4*4803,4)01 Understanding Historical and Cultural Context,
Writer’s Background
83*5*/(803,4)01 Informative: Online Feature Article
SHAKESPEAREAN DRAMA
The Tragedy of Romeo and Juliet
5&95"/"-:4*4803,4)01 Shakespearean Tragedy, Shakespeare’s Language,
Reading Shakespeare
83*5*/(803,4)01 Narrative: Video Script
EPIC POETRY
The Odyssey
5&95"/"-:4*4803,4)01 Characteristics of the Epic, The Language of Homer,
Reading the Epic
83*5*/(803,4)01 Video Script
INVESTIGATION AND DISCOVERY
The Power of Research
83*5*/(803,4)01 Informative: Research Paper
ix
$POUFOUTJO#SJFGt(SBEF
Cultural Experience
Compa
r
ing Acr
oss Ge
Those
Winter
Sundays
nres
r o b e r t h ay d e n
Vigour, Martine Levy. Musée d’Art Moderne, Troyes, France. Photo © Gerard Blot/
Réunion des Musées Nationaux/Art Resource, New York.
5
Sundays too my father got up early
on in the blueblack cold,
and put his clothes
c
cracked hands that ached
then with cra
from labor in the weekday weather made
banked fires blaze. No one ever thanked him.
I’d wake and hear the cold splintering, breaking.
rooms were warm, he’d call,
When the ro
and slowly I would rise and dress,
fearing the cchronic angers of that house, c
10
Speaking ind
indifferently to him,
who had driven
driv out the cold
and polished my good shoes as well.
what did I know
What did I know,
k
austere and lonely offices?
of love’s aust
256
x
c
Diverse Mediums
unit 2: character
c haracter development
MAKE INFERENCES
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xi
(SBEF
Contents in Brief
THE POWER OF IDEAS
Introductory Unit
GENRES WORKSHOP
READING STRATEGIES WORKSHOP
ACADEMIC VOCABULARY WORKSHOP
WRITING PROCESS WORKSHOP
L I TE R A RY
E L EM E N T S
UNIT
1
2
3
UNIT
UNIT
A WOR LD
O F I DE AS
UNIT
4
5
6
UNIT
UNIT
xii
THE WORLD OF A STORY
Plot, Setting, and Mood
5&95"/"-:4*4803,4)01 Setting, Mood, Plot, Conflict
83*5*/(803,4)01 Informative: Literary Analysis
WORD PORTRAITS
Character Development
5&95"/"-:4*4803,4)01 Character Traits, Motivation
83*5*/(803,4)01 Narrative: Short Story
A WRITER’S CHOICE
Narrative Devices
5&95"/"-:4*4803,4)01 Point of View, Narrator, Foreshadowing, Flashback
83*5*/(803,4)01 Informative: Analysis of Literary Nonfiction
MESSAGE AND MEANING
Theme
5&95"/"-:4*4803,4)01 Theme, Symbol
83*5*/(803,4)01 Informative: Comparison-Contrast Essay
WHY WRITE?
Author’s Purpose
5&95"/"-:4*4803,4)01 Author’s Purpose and Perspective, Patterns of
Organization
83*5*/(803,4)01 Argument: Persuasive Letter
MAKING A CASE
Argument and Persuasion
5&95"/"-:4*4803,4)01 Argument, Persuasive Techniques, Rhetorical Devices
83*5*/(803,4)01 Argument: Persuasive Essay
)*()4$)00-13&7*&8t)0-5.$%06("--*5&3"563&
T H E AU T HO R ’ S
C RAFT
UNIT
7
8
9
UNIT
UNIT
T H E CLAS S I C
T RA D I T I O N
UNIT
10
11
12
UNIT
UNIT
SOUND AND SENSE
The Language of Poetry
5&95"/"-:4*4803,4)01 Form, Poetic Elements, Sound Devices, Imagery,
Figurative Language
83*5*/(803,4)01 Informative: Analysis of a Poem
SIGNATURES
Author’s Style and Voice
5&95"/"-:4*4803,4)01 Style, Voice, Diction, Tone, Imagery
83*5*/(803,4)01 Informative: Online Feature Article
PRODUCT OF THE TIMES
History, Culture, and the Author
5&95"/"-:4*4803,4)01 Writer’s Background, Historical and Cultural Influences
83*5*/(803,4)01 Informative: Cause and Effect Essay
UPHOLDING HONOR
Greek Tragedy and Medieval Romance
5&95"/"-:4*4803,4)01 Characteristics of Greek Tragedy, Conventions of
Medieval Romance
83*5*/(803,4)01 Narrative: Video Script
SHAKESPEAREAN DRAMA
The Tragedy of Julius Caesar
5&95"/"-:4*4803,4)01 Characteristics of Shakespearean Tragedy
83*5*/(803,4)01 Argument: Critical Review
INVESTIGATION AND DISCOVERY
The Power of Research
83*5*/(803,4)01 Informative: Research Paper
xiii
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(SBEF
Contents in Brief
Exploring American Literature
INTRODUCTORY UNIT
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xvi
An Emerging Nation
EARLY AMERICAN WRITING 1600-1800
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Exploration and the Early Settlers
The Puritan Tradition
Celebrating the Individual
AMERICAN ROMANTICISM 1800-1855
5IF&BSMZ3PNBOUJDT
The Fireside Poets
The Transcendentalists
An Age of Transition
FROM ROMANTICISM TO REALISM 1855-1870
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-JUFSBUVSFPGUIF$JWJM8BS
Capturing the American Landscape
REGIONALISM AND NATURALISM 1870-1910
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5IF3JTFPG/BUVSBMJTN
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A Changing Awareness
THE HARLEM RENAISSANCE AND MODERNISM 1910-1940
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The Modern Short Story
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New Perspectives
CONTEMPORARY LITERATURE 1940-PRESENT
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Investigation and Discovery
THE POWER OF RESEARCH
xvii
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xviii
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Multiple Interpretations of a Classic
xix
(SBEF
Contents in Brief
Exploring British Literature
INTRODUCTORY UNIT
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xx
The Origins of a Nation
THE ANGLO-SAXON AND MEDIEVAL PERIODS 449-1485
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A Celebration of Human Achievement
THE ENGLISH RENAISSANCE 1485-1660
Pastoral Poems and Sonnets
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The Metaphysical and Cavalier Poets
Tradition and Reason
THE RESTORATION AND THE 18TH CENTURY 1660-1798
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Emotion and Experimentation
THE FLOWERING OF ROMANTICISM 1798-1832
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An Era of Rapid Change
THE VICTORIANS 1832-1901
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New Ideas, New Voices
MODERN AND CONTEMPORARY LITERATURE 1901-PRESENT
The Challenge of Modernism
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Investigation and Discovery
THE POWER OF RESEARCH
xxi
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Yet in his mind Temas now trembled. Fear of battle was a nonexistent
thing—but fear of failure could be real, and was. It was real and living—and
kept alive by the nearness of an enemy more formidable than any lion—
an enemy with the hated name Medoto.
He thought of Medoto—of that Medoto who lay not far away in the deep
grass watching the same ravine. Of that Medoto who, out of hate and jealousy
over a mere girl, now hoped in his heart that Temas would flinch at the
moment of his trial. . . .
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During the test, Temas feels relieved when the lion attacks another hunter.
Then Medoto throws a stone, causing the lion to charge Temas. Without
hesitation, Temas kills the lion. Later, Medoto explains himself to Temas.
5
10
15
“If, until now, I have seemed your enemy, it was because I feared you would
be braver than I, for when I fought my lion my knees trembled and my heart
was white—until that charge was made. No one knew that, and I am called
Medoto, the unflinching, but I flinched. I trembled.”
He stepped closer to Temas. He smiled. “It is no good to lie,” he said. “I
wanted you to fail, but when I saw you hesitate I could not bear it because I
remembered my own hour of fear. It was then I threw the stone—not to shame
you, but to save you from shame—for I saw that your fear was not fear of
death, but fear of failure—and this I understood. You are a greater warrior than
I—than any—for who but the bravest would do what you have done?” Medoto
paused and watched a light of wonderment kindle in Temas’s eye. The hand of
Temas slipped from his sword, his muscles relaxed. Yet, for a moment, he did
not speak, and as he looked at Medoto, it was clear to both that the identical
thought, the identical vision, had come to each of them. It was the vision that
must and always will come to young men everywhere, the vision of a girl.
Now this vision stood between them, and nothing else. But it stood like a
barrier, the last barrier.
#LOSEß2EAD
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unit 1: narrative structure
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3WEETß0OTATOß0IE
3HORTßSTORYßBYß%UGENIAß#OLLIER
5
10
15
20
25
30
From up here on the fourteenth floor, my brother Charley looks like an insect
scurrying among other insects. A deep feeling of love surges through me. . . .
Because I see Charley so seldom, my thoughts hover over him like
hummingbirds. The cheerful, impersonal tidiness of this room is a world away
from Charley’s walk-up flat in Harlem and a hundred worlds from the bare,
noisy shanty where he and the rest of us spent what there was of childhood.
I close my eyes, and side by side I see the Charley of my boyhood and the
Charley of this afternoon, as clearly as if I were looking at a split TV screen.
Another surge of love, seasoned with gratitude, wells up in me.
As far as I know, Charley never had any childhood at all. The oldest
children of sharecroppers never do. Mama and Pa were shadowy figures whose
voices I heard vaguely in the morning when sleep was shallow and whom I
glimpsed as they left for the field before I was fully awake or as they trudged
wearily into the house at night when my lids were irresistibly heavy.
They came into sharp focus only on special occasions. One such occasion
was the day when the crops were in and the sharecroppers were paid. In our
cabin there was so much excitement in the air that even I, the “baby,” responded
to it. For weeks we had been running out of things that we could neither grow
nor get on credit. On the evening of that day we waited anxiously for our
parents’ return. Then we would cluster around the rough wooden table—I on
Lil’s lap or clinging to Charley’s neck, little Alberta nervously tugging her plait,
Jamie crouched at Mama’s elbow, like a panther about to spring, and all seven
of us silent for once, waiting. Pa would place the money on the table—gently,
for it was made from the sweat of their bodies and from their children’s tears.
Mama would count it out in little piles, her dark face stern and, I think now,
beautiful. Not with the hollow beauty of well-modeled features but with the
strong radiance of one who has suffered and never yielded.
“This for store bill,” she would mutter, making a little pile. “This for
c’llection. This for piece o’gingham . . .” and so on, stretching the money as
tight over our collective needs as Jamie’s outgrown pants were stretched over
my bottom. “Well, that’s the crop.” She would look up at Pa at last. “It’ll do.”
Pa’s face would relax, and a general grin flitted from child to child. We would
survive, at least for the present.
#LOSEß2EAD
ß %XPLAINßWHATßHAPPENSß
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trxt analysis workshop
FORßSTRUGGLINGßREADERS
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5
10
15
Her parents had moved her to Cincinnati, to a large house with beveled glass1
windows and several porches and the history her mother liked to emphasize.
You’ll love the house, they said. You’ll be lonely at first, they admitted, but you’re
so nice you’ll make friends fast. And as an impulse tore at her to lie on the floor,
to hold to their ankles and tell them she felt she was dying, to offer anything,
anything at all, so they might allow her to finish growing up in the town of her
childhood, they firmed their mouths and spoke from their chests and they said,
It’s decided.
They moved her to Cincinnati, where for a month she spent the greater
part of every day in a room full of beveled glass windows, sifting through
photographs of the life she’d lived and left behind. But it is difficult work,
suffering, and in its own way a kind of art, and finally she didn’t have the
energy for it anymore, so she emerged from the beautiful house and fell in love
with a bag boy at the supermarket. Of course, this didn’t happen all at once,
just like that, but in the sequence of things that’s exactly the way it happened.
She liked to grocery shop. She loved it in the way some people love to drive
long country roads, because doing it she could think and relax and wander.
Her parents wrote up the list and handed it to her and off she went without
#LOSEß2EAD
ß ß 7HATßDOßYOUßLEARNß
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unit 1: narrative structure
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complaint to perform what they regarded as a great sacrifice of her time and a
sign that she was indeed a very nice girl. She had never told them how much
she loved grocery shopping, only that she was “willing” to do it. She had an
intuition which told her that her parents were not safe for sharing such strong,
important facts about herself. Let them think they knew her.
Once inside the supermarket, her hands firmly around the handle of the
cart, she would lapse into a kind of reverie and wheel toward the produce.
Like a Tibetan monk2 in solitary meditation, she calmed to a point of deep,
deep happiness; this feeling came to her, reliably, if strangely, only in the
supermarket.
#LOSEß2EAD
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hen one day the bag boy dropped her jar of mayonnaise and that is how
she fell in love.
He was nervous—first day on the job—and along had come this fascinating
girl, standing in the checkout line with the unfocused stare one often sees in
young children, her face turned enough away that he might take several full
looks at her as he packed sturdy bags full of food and the goods of modern life.
She interested him because her hair was red and thick, and in it she had placed
a huge orange bow, nearly the size of a small hat. That was enough to distract
him, and when finally it was her groceries he was packing, she looked at him
and smiled and he could respond only by busting her jar of mayonnaise on the
floor, shards of glass and oozing cream decorating the area around his feet.
She loved him at exactly that moment, and if he’d known this perhaps he
wouldn’t have fallen into the brown depression he fell into, which lasted the
rest of his shift. He believed he must have looked a fool in her eyes, and he
envied the sureness of everyone around him: the cocky cashier at the register,
the grim and harried store manager, the bland butcher, and the brazen bag
boys who smoked in the warehouse on their breaks. He wanted a second
chance. Another chance to be confident and say witty things to her as he threw
tin cans into her bags, persuading her to allow him to help her to her car so
he might learn just a little about her, check out the floor of the car for signs of
hobbies or fetishes and the bumpers for clues as to beliefs and loyalties.
But he busted her jar of mayonnaise and nothing else worked out for the
rest of the day.
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Strange, how attractive clumsiness can be. She left the supermarket with
stars in her eyes, for she had loved the way his long nervous fingers moved
from the conveyor belt to the bags, how deftly (until the mayonnaise) they
had picked up her items and placed them into her bags. She had loved the way
the hair kept falling into his eyes as he leaned over to grab a box or a tin. And
the tattered brown shoes he wore with no socks. And the left side of his collar
turned in rather than out.
The bag boy seemed a wonderful contrast to the perfectly beautiful house
she had been forced to accept as her home, to the history she hated, to the
loneliness she had become used to, and she couldn’t wait to come back for
more of his awkwardness and dishevelment.
Incredibly, it was another four weeks before they saw each other again.
As fate would have it, her visits to the supermarket never coincided with
his schedule to bag. Each time she went to the store, her eyes scanned the
checkouts at once, her heart in her mouth. And each hour he worked, the bag
boy kept one eye on the door, watching for the red-haired girl with the big
orange bow.
Yet in their disappointment these weeks there was a kind of ecstasy. It is
reason enough to be alive, the hope you may see again some face which has
meant something to you. The anticipation of meeting the bag boy eased the
girl’s painful transition into her new and jarring life in Cincinnati. It provided
for her an anchor amid all that was impersonal and unfamiliar, and she spent
less time on thoughts of what she had left behind as she concentrated on what
might lie ahead. And for the boy, the long and often tedious hours at the
supermarket which provided no challenge other than that of showing up the
following workday . . . these hours became possibilities of mystery and romance
for him as he watched the electric doors for the girl in the orange bow.
#LOSEß2EAD
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nd when finally they did meet up again, neither offered a clue to the other
that he, or she, had been the object of obsessive thought for weeks. She
spotted him as soon as she came into the store, but she kept her eyes strictly in
front of her as she pulled out a cart and wheeled it toward the produce. And
he, too, knew the instant she came through the door—though the orange bow
was gone, replaced by a small but bright yellow flower instead—and he never
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once turned his head in her direction but watched her from the corner of his
vision as he tried to swallow back the fear in his throat.
It is odd how we sometimes deny ourselves the very pleasure we have longed
for and which is finally within our reach. For some perverse reason she would
not have been able to articulate, the girl did not bring her cart up to the bag
boy’s checkout when her shopping was done. And the bag boy let her leave the
store, pretending no notice of her.
This is often the way of children, when they truly want a thing, to pretend
that they don’t. And then they grow angry when no one tries harder to give
them this thing they so casually rejected, and they soon find themselves in a
rage simply because they cannot say yes when they mean yes. Humans are very
complicated. (And perhaps cats, who have been known to react in the same
way, though the resulting rage can only be guessed at.)
The girl hated herself for not checking out at the boy’s line, and the
boy hated himself for not catching her eye and saying hello, and they most
sincerely hated each other without having ever exchanged even two minutes
of conversation.
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ventually—in fact, within the week—a kind and intelligent boy who lived
very near her beautiful house asked the girl to a movie and she gave up
her fancy for the bag boy at the supermarket. And the bag boy himself grew
so bored with his job that he made a desperate search for something better
and ended up in a bookstore where scores of fascinating girls lingered like
honeybees about a hive. Some months later the bag boy and the girl with the
orange bow again crossed paths, standing in line with their dates at a movie
theater, and, glancing toward the other, each smiled slightly, then looked away,
as strangers on public buses often do, when one is moving off the bus and the
other is moving on.
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O. Henry
10
One dollar and eighty-seven cents. That was all. And 60 cents of it was in
pennies. Pennies saved one and two at a time by bulldozing the grocer and
the vegetable man and the butcher until one’s cheeks burned with the silent
imputation of parsimony1 that such close dealing implied. Three times Della
counted it. One dollar and eighty-seven cents. And the next day would be
Christmas.
There was clearly nothing to do but flop down on the shabby little couch
and howl. So Della did it. Which instigates the moral reflection that life is
made up of sobs, sniffles, and smiles, with sniffles predominating.
While the mistress of the home is gradually subsiding from the first stage to
the second, take a look at the home. A furnished flat at $8 per week. It did not
exactly beggar description, but it certainly had that word on the lookout for
the mendicancy squad.2
ß ß IMPUTATIONß<ZF]fB"a6E`U:[ßOFßPARSIMONYß]v_E`:"Z>F[8ßSUGGESTIONßOFßSTINGINESS
ß ß MENDICANCYßZ9[EQ<"X:["`8ßSQUADßAßPOLICEßUNITßASSIGNEDßTOßARRESTßBEGGARSß
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VßTOßSTIRßUPßPROVOKE
The Kiss (1891), Édouard Vuillard.
Philadelphia Museum of Art,
The Louis E. Stern Collection, 1963.
© 2007 Artists Rights Society (ARS),
New York/ADAGP, Paris
(1963-181-76).
unit 1: narrative structure
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Woman Combing Her Hair, Edgar Degas. Charcoal and pastel. © The Fine Art Society,
London/Bridgeman Art Library.
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20
In the vestibule below belonged to this flat a letterbox into which no letter
would go and an electric button from which no mortal finger could coax a
ring. Also appertaining thereunto was a card bearing the name “Mr. James
Dillingham Young.”
The “Dillingham” had been flung to the breeze during a former period
of prosperity when its possessor was being paid $30 per week. Now, when
the income was shrunk to $20, the letters of “Dillingham” looked blurred,
as though they were thinking seriously of contracting to a modest and
unassuming D. But whenever Mr. James Dillingham Young came home and A
reached his flat above, he was called “Jim” and greatly hugged by Mrs. James
Dillingham Young, already introduced to you as Della. Which is all very good.
Della finished her cry and attended to her cheeks with the powder rag. She
stood by the window and looked out dully at a gray cat walking a gray fence in
a gray backyard. Tomorrow would be Christmas Day, and she had only $1.87
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unit 1: narrative structure
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FORßENGLISHßLANGUAGEßLEARNERS
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30
40
50
60
with which to buy Jim a present. She had been saving every penny she could
for months, with this result. Twenty dollars a week doesn’t go far. Expenses
had been greater than she had calculated. They always are. Only $1.87 to buy
a present for Jim. Her Jim. Many a happy hour she had spent planning for
something nice for him. Something fine and rare and sterling—something just
a little bit near to being worthy of the honor of being owned by Jim.
There was a pier glass3 between the windows of the room. Perhaps you
have seen a pier glass in an $8 flat. A very thin and very agile person may, by
observing his reflection in a rapid sequence of longitudinal strips, obtain a
fairly accurate conception of his looks. Della, being slender, had mastered
the art.
Suddenly she whirled from the window and stood before the glass. Her eyes
were shining brilliantly, but her face had lost its color within twenty seconds.
Rapidly she pulled down her hair and let it fall to its full length.
h were two possessions off the
h James Dillingham
ll h Youngs in which
h h
Now, there
they both took a mighty pride. One was Jim’s gold watch that had been his
father’s and his grandfather’s. The other was Della’s hair. Had the Queen of
Sheba4 lived in the flat across the air shaft, Della would have let her hair hang
out the window some day to dry and mocked at Her Majesty’s jewels and gifts.
Had King Solomon5 been the janitor, with all his treasures piled up in the
basement, Jim would have pulled out his watch every time he passed, just to
see him pluck at his beard from envy. B
So now Della’s beautiful hair fell about her, rippling and shining like a
cascade of brown waters. It reached below her knee and made itself almost a
garment for her. And then she did it up again nervously and quickly. Once she
faltered for a minute and stood still while a tear or two splashed on the worn
red carpet.
On went her old brown jacket; on went her old brown hat. With a whirl of
skirts and with the brilliant sparkle still in her eyes, she fluttered out the door
and down the stairs to the street.
Where she stopped, the sign read “Mme. Sofronie. Hair Goods of All
Kinds.” One flight up Della ran and collected herself, panting, before
Madame, large, too white, chilly, and hardly looking the “Sofronie.”
“Will you buy my hair?” asked Della.
“I buy hair,” said Madame. “Take yer hat off and let’s have a sight at the
looks of it.”
Down rippled the brown cascade.
“Twenty dollars,” said Madame, lifting the mass with a practiced hand.
“Give it to me quick,” said Della.
Oh, and the next two hours tripped by on rosy wings. Forget the hashed
metaphor. She was ransacking the stores for Jim’s present.
2 % ! $ ) . 'ß342 !4%' 9
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Predictions
Della did
up her hair
again
nervously.
She is anxious
because she
might trade it
for money.
She will
probably
explore such
a trade.
REVISITßTHEßBIGßnrbpqflk
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to SACRIFICE?
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She found it at last. It surely had been made for Jim and no one else.
There was none other like it in any of the stores, and she had turned all of
them inside out. It was a platinum fob chain6 simple and chaste in design,
properly proclaiming its value by substance alone and not by meretricious
ornamentation7—as all good things should do. It was even worthy of The
Watch. As soon as she saw it, she knew that it must be Jim’s. It was like him.
Quietness and value—the description applied to both. Twenty-one dollars they
took from her for it, and she hurried home with the 87 cents. With that chain
on his watch Jim might be properly anxious about the time in any company.
Grand as the watch was, he sometimes looked at it on the sly on account of the
old leather strap that he used in place of a chain.
When Della reached home, her intoxication gave way a little to prudence
and reason. She got out her curling irons and lighted the gas and went to work
repairing the ravages made by generosity added to love. Which is always a
tremendous task, dear friends—a mammoth task.
Within forty minutes her head was covered with tiny, close-lying curls that
made her look wonderfully like a truant schoolboy. She looked at her reflection
in the mirror long, carefully, and critically.
“If Jim doesn’t kill me,” she said to herself, “before he takes a second look at
me, he’ll say I look like a Coney Island8 chorus girl. But what could I do—oh,
what could I do with a dollar and eighty-seven cents!”
At 7 o’clock the coffee was made, and the frying pan was on the back of the
stove hot and ready to cook the chops.
Jim was never late. Della doubled the fob chain in her hand and sat on the
corner of the table near the door that he always entered. Then she heard his
step on the stair away down on the first flight, and she turned white for just
a moment. She had a habit of saying little silent prayers about the simplest
everyday things, and now she whispered: “Please, God, make him think I am
still pretty.”
The door opened, and Jim stepped in and closed it. He looked thin and
very serious. Poor fellow, he was only twenty-two—and to be burdened with a
family! He needed a new overcoat, and he was without gloves.
Jim stopped inside the door, as immovable as a setter at the scent of a quail.
His eyes were fixed upon Della, and there was an expression in them that
she could not read, and it terrified her. It was not anger, nor surprise, nor
disapproval, nor horror, nor any of the sentiments that she had been prepared
for. He simply stared at her fixedly with that peculiar expression on his face. C
Della wriggled off the table and went for him.
“Jim, darling,” she cried, “don’t look at me that way. I had my hair cut off
and sold it because I couldn’t have lived through Christmas without giving you
a present. It’ll grow again—you won’t mind, will you? I just had to do it. My
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hair grows awfully fast. Say ‘Merry
Christmas!’ Jim, and let’s be happy.
You don’t know what a nice—what
a beautiful, nice gift I’ve got for
you.”
“You’ve cut off your hair?” asked
Jim, laboriously, as if he had not
arrived at that patent fact yet even
after the hardest mental labor.
“Cut it off and sold it,” said
Della. “Don’t you like me just as
well, anyhow? I’m me without my
hair, ain’t I?”
Jim looked about the room
curiously.
“You say your hair is gone?” he
said, with an air almost of idiocy.
“You needn’t look for it,” said
Della. “It’s sold, I tell you—sold
and gone too. It’s Christmas Eve,
boy. Be good to me, for it went for
you. Maybe the hairs of my head
were numbered,” she went on with
a sudden serious sweetness, “but
nobody could ever count my love
for you. Shall I put the chops on,
Jim?”
Out of his trance Jim seemed
to quickly wake. He enfolded
his Della. For ten seconds let us
regard with discreet scrutiny9 some
inconsequential object in the other
direction. Eight dollars a week
or a million a year—what is the
difference? A mathematician or
a wit would give you the wrong
answer. The magi brought valuable gifts, but that was not among them. This
dark assertion will be illuminated later on.
Jim drew a package from his overcoat pocket and threw it upon the table. D
“Don’t make any mistake, Dell,” he said, “about me. I don’t think there’s
anything in the way of a haircut or a shave or a shampoo that could make me
like my girl any less. But if you’ll unwrap that package, you may see why you
had me going awhile at first.”
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180
White fingers and nimble tore at the string and paper. And then an ecstatic
scream of joy, and then, alas! a quick feminine change to hysterical tears and
wails, necessitating the immediate employment of all the comforting powers of
the lord of the flat.
For there lay The Combs—the set of combs, side and back, that Della had
worshiped for long in a Broadway window. Beautiful combs, pure tortoise
shell, with jeweled rims—just the shade to wear in the beautiful vanished hair.
They were expensive combs, she knew, and her heart had simply craved and
COVETEDßXDcE<"a<Q
yearned over them without the least hope of possession. And now, they were
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hers, but the tresses that should have adorned the coveted adornments were
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But she hugged them to her bosom, and at length she was able to look up
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p up
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And then Della leaped
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upon her open palm. The dull, precious metal seemed to flash with a reflection
of her bright and ardent spirit.
“Isn’t it a dandy, Jim? I hunted all over town to find it. You’ll have to look at
the time a hundred times a day now. Give me your watch. I want to see how it
looks on it.”
4ARGETEDß0ASSAGE
Instead of obeying, Jim tumbled down on the couch and put his hands
under the back of his head and smiled.
“Dell,” said he, “let’s put our Christmas presents away and keep ’em a while.
They’re too nice to use just at present. I sold the watch to get the money to
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buy your combs. And now suppose you put the chops on.” F
2EREADßLINES߯ß
The magi, as you know, were wise men—wonderfully wise men—who
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brought gifts to the Babe in the manger. They invented the art of giving
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Christmas gifts. Being wise, their gifts were no doubt wise ones, possibly
bearing the privilege of exchange in case of duplication. And here I have lamely
CHRONICLEßX_?[E<"X:Yßß
related to you the uneventful chronicle of two foolish children in a flat who
NßAßRECORDßOFßEVENTS
most unwisely sacrificed for each other the greatest treasures of their house.
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the gift of the magi
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Jim walked to the shop; the store would close in just an hour. He reached
yanked
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