I. Active reading is necessary to increase reading speed

5. The intangible quality of courage (paragraph 21). The author came to believe that his father's rejection of religion was an act of courage. He shared this courage with his father by similarly rejecting reli­gion.

6. In paragraph 24 the narrator dismisses four years in a single sentence. In para­graph 26 he writes, “Within forty-eight hours, I was standing in the early morning light,” thus pacing the story to gloss over the interminably long flight from Japan.
7. The father wanted the narrator to give him permission to speak to the minister so he could die consoled by religion. The narrator withheld this permission because giving it would have amounted to admitting his father’s weaknesshis father’s fear of death. Rather than allowing that, the narrator withheld permission, forcing the father either to confess his weakness to his son and thus violate the bond of “courage” that had grown up between them, or to die alone and unconsoled by religion.
8. Allow for open discussion. The story indicts both role-playing and masculin­ity. Had the son not been playing the role of the masculine and courageous man, he would have been understanding enough to allow his father the con­solation of religion on his deathbed.
9. Allow for open discussion. Clearly, the father was extremely courageous to the end. If he really believed that he had been wrong about religion as he con­fessed to the son, then it was doubtless courageous of him to forgo talking to the minister because of the son.
10. The significance is that the son continues to role-play what he conceives to be the part of the man. It was role-playing that made him deprive his father of the consolations of religion, now it is role-playing in front of three anonymous women that prevents him from expressing his grief.




Richard Cory
Edwin Arlington Robinson
Answers to Quiz

b, d, a
Answers to Questions on Meaning and Technique (163)

1. 
   The poem is narrated from the viewpoint of “we people on the pavement,” al­lowing the poet to contrast effectively Cory's lifestyle with that of the poorer people around him and to do so impartially and with no sentimentality. Cory's suicide is all the more shocking because he is portrayed as the object of envy to many.
   

2. 
   He was enviable because he was imperially slim, quietly arrayed, rich, and schooled in every grace.
   

3. 
   He caused excitement when he said, “Good morning.” Cory was such an ad­mired and resplendent figure that a mere greeting from him caused hearts to skip.
   

4. 
   Contrast. Cory is contrasted with the anonymous “we” who tell his story.
   

5. 
   That they envied Cory; that they wished to be in his place; that they were poor, hungry, and struggling (“So on we worked, and waited for the light,/ And went without the meat, and cursed the bread….”). It is important for us to know these things about Cory's admirers; otherwise his suicide would not seem nearly as inexplicable, and the paradoxical flavor of the poem would be lost.
   

A Gift of Laughter
Allan Sherman
Answers to Quiz

d, b, a, d, a

Answers to Questions on Meaning and Technique ( 171)

1. 
   The narrator involves us in the story by beginning in the middle of things, with his son's shrieking at him in his excitement to show the picture he had drawn of his father. This kind of beginning, known as in medias res a term from Horace that signifies beginning in the middle of an actionis very effective for immediately drawing in an audience.
   

2. 
   The language used throughout the story is colloquial and informal and helps set the tone and atmosphere for a casual narration. Given the elements and point of this tale, it is difficult to see how the narrator could have chosen any other kind of language than this.
   

3. 
   Money problems are typically serious topics of conversation between adults and are usually engrossing. He tells us the subject to explain why he was so distracted that he had no time to listen to his son.
   

4. 
   The flashback is triggered in paragraph 8 by the sound of his son slamming the door. That sound takes him back to the time when he slammed his own door after being rebuffed by his own mother.
   

5. 
   He omits the details of the trade because he is pacing this story so that it sticks to the pointnamely, that once he also made a sacrifice that was not appreciated by adults. Having told us what Gudgie wanted for the football, he does not need to show us the actual trade that took place.
   

6. 
   Allow for open discussion. The adults in the story are actually quite loving and devoted to their children. The misunderstandings that they have with their children are quite understandable and typical in the day-to-day affairs of a family.
   

7. 
   Strictly speaking, if one were grammatically picky one could object that the sentence should read “then give it back to whomever it belongs.” However, this stilted though grammatically correct speech would be totally inappropriate for the circumstances of this story. A writer is more obliged to faithfully write dialogue that fits the dramatic situation rather than dialogue that is grammatically right.
   

8. 
   The odd capitalization of “leaving home” and "left home" indicates that this is a normal and expected ritual that children go through when they are hurt.
   
9. 
   Allow for open discussion. The story is an amusing one and the sort that might be found in Reader's Digest or some other popular magazine of a similar level. It is intended strictly for a popular audience and has an amusing surface appeal. It does, however, lack the depth of some of the other narrations in this chapter.
   

Excerpt from Night
Elie Wiesel

Answers to Quiz

b, d, d, a, b

Answers to Questions on Meaning and Technique (183)

1. 
   Allow for open discussion. Many survivors, even though they are now very old, simply cannot forgive these cruel former SS officers.
   

2. 
   The description consists merely of a series of short sentences that catalog what the author saw. The writing is plain and straightforward with no images whatsoever. This style of writing is commonly found in newspapers. It is highly effective here because of the extraordinary circumstances the author is describing.
   

3. 
   He puts “coffee” in quotation marks to signify that the liquid being served was coffee only in a figurative sense. Later, in paragraph 30, he identifies the liquid as “hot water.” Using quotation marks is an effective shorthand way of making clear that the coffee being served was not really coffee.
   

4. 
   Allow for open discussion. His behavior strikes us as loving, gentle, and caring under the harshest of circumstances. It seems to us that he has nothing to reproach himself about.
   

5. 
   The author uses journalistic paragraphs, some of which are only a short sentence long. These paragraphs are highly effective for the reportorial style that the author uses in telling his story.
   

6. For us, the most moving part of this narration is the way the author keeps reproaching himself about wanting to stay alive and about the feelings he had that his dying father was a dead weight on his own chances of survival. But under the circumstances, these feelings were perfectly normal and would have been felt by anyone else in his position. Allow for open discussion.

7. Paragraph 54 consists of a single sentence fragment. It has no main verb and would therefore not be suitable for a student essay. Yet it is a highly effective summary of how the author felt and is a good example of the use of fragments to make a strong point.
8. The use of exclamation marks in paragraph 58 strongly signals the author’s outrage and indignation that his own father should thank him for showing mercy. The marks are a subtle commentary on the depths to which the inhuman prisoners have descended in the concentration camp.

9. 
   The advice given to the authorthat he save himself and forget about his dying fatheris probably sound advice under the brutal circumstances, but it is also a chilling commentary on the viciousness of life in a Nazi concentration camp.
   

9. 
   Many examples of pacing can be found throughout the material. In paragraph 27, for example, the author writes, “I walked for hours without finding him.” In paragraph 32, he passes over five uneventful hours in a single sentence. And in paragraph 36, he marks the passage of time by writing, “he grew weaker day by day.” Finally, an entire uneventful week in his father's decline is dismissed in paragraph 59 with a single sentence, “a week went by like this.”
   

In Another Country
Ernest Hemingway
Answers to Quiz

c, d, b, a, c

Answers to Questions on Meaning and Technique (188)

1. 
   On a literal level, the narrator, who is an American fighting a war in Europe, finds himself in Milan, Italy, “another country,” not his homeland. On a psychological level, the story tells of a group of soldiers wounded during the war, which makes them different from citizens who have never fought in a war. In a sense, they are in “another country.” On a third level, the narrator feels that he is a stranger to the other men working the machines because he is American and received his wound due to an accident rather than due to actual warfare. This difference, too, places him “in another country.”
   

2. 
   He means that the war is still on, but the characters in this story no longer fight in the war because they have been wounded and are now in the process of getting care at a hospital in Milan.
   

3. 
   Today we would simply term the cure “physical therapy,” which is still used widely to help people move again after they have lost the use of their limbs—in accidents or at war. Ask students if they trusted the machines—why or why not?
   

4. 
   The role of the doctor is to keep up the morale of the soldiers using the machines. He wants to build up their confidence in the curative power of the machines, presumably so that the patients will improve. Allow students to discuss how they reacted to the doctor’s optimism.
   

5. 
   The people hated these men, who were officers and as such were privileged—receiving better care and more medals than common soldiers. The people probably felt that, during fierce battles, officers did not put their lives on the line as much as did the more lowly foot soldier. Perhaps the people had lost some of their relatives who were soldiers, not officers, in the war. Have students discuss this point.
   

6. 
   This young soldier contributes to the irony of this story. He came from an aristocratic family and had his nose shot off as he fought on the front line of the war immediately after graduating from the military academy. He did not have time to really prove himself; yet, his appearance has been destroyed forever. The reason “they” (probably the plastic surgeons) could never rebuild the boy’s nose correctly is because Italian aristocrats were said to have a Roman nose, denoting patrician looks and nobility. Have students discuss how they feel about this young soldier.
   

7. 
   By “detached” the narrator means that the soldiers no longer felt great passion about their lives. They had lived with death and danger so long, that in order to save their sanity, they had to create distance between themselves and the world around them. Other words that might apply are “aloof,” “isolated,” and “impassive.”
   

8. 
   Here are some suggested themes: 1) One effect of war is disillusionment with love and life. 2) One cannot always shield one’s own life and that of loved ones from inevitable tragedy. 3) The best way to live life is to savor those pleasant moments that come along.
   

9. 
   The pivotal character is the major because he proves that life is ironic and unpredictable. He did not marry his wife until he was sure that he would not have to go back to war (having been severely wounded) and possibly make her a widow. But irony of ironies, she died of pneumonia while the major was having his hand treated.
   

10. 
    The narrator is omniscient and omnipresent in the sense that he can move from character to character, relaying impressions to the reader. He knows all. One technique used is pacing—that is, featuring important events while passing quickly over less important ones. For instance, in paragraph 2, the narrator says, “We were all at the hospital every afternoon,” but he does not give us a blow by blow description of what happened on each of those afternoons. A second technique used is scattering vivid details throughout the essay. Good examples to study occur in paragraphs 1, 14, and 15. A third technique used is the use of symbolism. One example occurs in paragraph 17, when the narrator refers to the other three officers with medals as “hunting hawks,” meaning that they were eager to get into the front lines of the war and kill the enemy whereas the narrator is afraid of death and does not have the killer’s instinct. He is more of a dove than a hawk.
    

The Tell-Tale Heart
Edgar Allan Poe
Answers to Quiz

d, c, c, a, a

Answers to Questions on Meaning and Technique (193)

1. 
   The narrator begins by telling us that he is not mad precisely because he is mad. By having the narrator deny that he is mad at the very outset, Poe is drawing our attention to the fact that the man is most probably mad, and his madness is an explanation for the narrative that follows.
   

2. 
   The point of the narrator telling us that he had no motive for killing the old man can only be to lay the groundwork for a psychological explanation of his motivenamely, that the narrator is mad.
   

3. 
   The dashes add a breathlessness to the narration, as if the narrator were darting from one thought to the next in his confused state of mind. They are very effective for signaling broken thoughts that one would expect from someone who is demented.
   

4. 
   From his language, we gather that the narrator is an educated man from at least a middle-class background. His vocabulary is sophisticated as is his sentence structure. The portrayal of him that emerges from his use of language adds to the inevitable conclusion that only madness can explain his actions.
   

5. 
   A reader today would not be particularly shocked by anything in this story, so used to excesses in the portrayal of madness on the page and on the screen have we become. In Poe’s day, however, this story would’ve been shocking. Allow for open discussion of the second part of the question.
   

6. 
   In pacing this story, Poe focuses his attention mainly on the night of the murder. In paragraph 4, for example, he passes over an entire week in his opening sentence. On the other hand, from paragraph 5 to the end of the book, the narrative focuses painstakingly on the murder of the old man, his dismemberment, and burial. Point out to students how time and events that are unimportant to the narrative are quickly glossed over, as for example the way the seven nights of watching the old man are treated in paragraph 4.
   
7. 
   A modern writer would not invert the subject and object but would most likely write, “I had no desire for his gold.”
   
8. 
   The best example of foreshadowing in paragraph 1 is the narrator's insistence on the acuteness of his hearing. Later, it is this overly sensitive hearing that gives him away when he imagines that he can hear the old man’s heart still beating from under the floor boards.
   
9. 
   We would guess that they were stunned, the narrator having convinced us that he had fooled them all along. Part of the suspense of this story is that we are not told how the officers reacted, but are left to imagine for ourselves.
   
10. 
    He uses italics and often. See, for example, paragraphs 5, 8, 12, and 14. Other paragraphs also use italics for the same effect.
    

3. 
   Iona desires desperately to communicate to someoneanyonehis grief over the loss of his son; he needs to find relief for his pent up emotions.
   

4. 
   They all are indifferent to the sorrows of a fellow human being. None shows the faintest sign of sensitivity or gentleness. All they care about is their own comfort and entertainment.
   

5. 
   Paragraph 22.
   

6. 
   Details suggesting loss or grief include the following: Iona's colorhe is described as being white like “a phantom”; he is also described as being bent double (as if in pain) and motionless. He is so engrossed in his own thoughts that “if a whole snowdrift fell on him, it seems as if he would not find it necessary to shake it off.” The description suggests a pensive, possibly grieving man totally absorbed in his own sorrows.
   

7. 
   The Paragraph 6: “Iona shifts about on his seat as if he were on needles, moves his elbows as if he were trying to keep his equilibrium, and gapes about like someone suffocating.” Paragraph 15: “Death mistook the door .... instead of coming to me, it went to my son.” Paragraph 16: “His grief, which has abated for a short while.... ”
   

8. 
   The conflict is between Iona's urge to communicate his grief and the unwillingness of people to listen. The conflict is resolved when Iona pours out his grief to his horse.
   

Coats
Jane Kenyon
Answers to Quiz

d, a, d, d, b

Answers to Questions on Meaning and Technique (201)
1. The omission of any particular details about the man makes him into a more universal “everyman” figure. We think the omission was deliberate to focus the poem not on a particular man, but on the man as an element in a mise en scene of grief.
2. This line is intended to reflect the viewpoint of the grief stricken man. That the day was fair and mild for December is a mockery of the personal suffering he was experiencing. Explain to students how poets and writers manipulate weather and scenery to evoke mood. In this case the evocation is of opposites that a tragic scene should be played out on a mild and fair day.
3. Allow for open discussion. One meaning of the coats is the individual attempt of every soul to cope with its own particular destiny. The woman is dead and the man is carrying away her now useless coat, while he himself buttons his own coat against the “irremediable cold.” The poem is implying that every person rides on the ocean of life in his or her own particular boat.
4. The “irremediable cold” refers not to the chilly weatherthe poem tells us that the day was mild and fairbut to the cold caused by the man's loss and grief. That is why it is “irremediable”; a coat cannot protect from this kind of cold.

5. 
   That the coat the man is buttoning as he leaves the hospital on a mild and fair winter day cannot protect him from the chill of his own grief is the irony implied by the poem.
   

Mma Ramotswe Thinks about the Land
Alexander McCall Smith
Answers to Quiz

d, a, c, d, a

Answers to Questions on Meaning and Technique (209)

1. 
   The two descriptions are of Africa as a desert and Africa as a fertile land. The switch is easy to follow because at the end of paragraph 4, the narrator tells us that as a young woman she had been out in the Kalahari desert during the rainy season. This experience creates the turning point from the dry desert to the rain-soaked desert.
   

2. 
   First, Mma Ramotswe attributes to the sun the human characteristic of “smiling” on Africa. Then she describes the sun as a “slither of golden red ball, inching up, floating effortlessly free of the horizon to dispel the last wisps of morning mist.” This is a highly charged, poetic description. Have students discuss their responses to the language.
   

3. 
   The main ingredient of the land is its vast size and its sand the color of ochre. As one moves inland, the vegetation gets sparser and sparser until even the thorn bushes thin out. The dryness of the land is oppressive.
   

4. 
   Probably the singing is performed by the hot, dry winds that sweep across this part of the country. It is surely an eerie, fearsome song.
   

5. 
   Suddenly the dry, empty desert becomes a garden filled with delicate shoots of grass, flowers, melons, and vines. Anyone who has lived in a desert environment knows that as soon as water soaks the earth, a desolate, harsh piece of desert can turn into a flower garden or an orchard. This is one of the miracles of nature. Think of Palm Springs, California, which was once a vast, stark desert, but is now a patchwork of gorgeous lawns, limpid lakes, and brilliant flowers—simply because irrigation was introduced to the land.
   

6. 
   The narrator ponders how small she is compared with the land’s endless expanses. But she finds comfort in thinking that in this vast country there is a place for everyone to live and call the land “their own.” The narrator loves the land the way a mother might love a child that broke her heart. In other words, the dry emptiness of the Kalahari desert is enough to break her heart, but she loves it despite its emptiness and lack of fertility. It is, above all, her native country.
   

7. 
   Mma Ramotswe is aware of her environment and she is careful, the way a detective should be. She sees a man leap out from the bushes and try to flag her down, but she ignores him by driving on, fully aware of the dangers involved in picking up strangers at night.
   

8. 
   Smith’s language is charged with vivid, poetic language, as exemplified in these passages: Paragraph 1: “Suddenly it (the sun) was there, smiling on Africa, a slither of golden red ball, inching up, floating effortlessly free of the horizon to dispel the last wisps of morning mist.” Paragraph 3: “This was a dry land. Just a short distance to the west lay the Kalahari, a hinterland of ochre that stretched off, for unimaginable miles, to the singing emptinesses of the Namib.” Paragraph 4: “For the lions were there still, on these wide landscapes, and they made their presence known in the darkness, in coughing grunts and growls.” Other passages exist.
   

9. 
   The tiny white van serves to tie up the description at the beginning of this chapter. The description begins with Mma Ramotswe driving her tiny white van, and it ends with her continuing to drive the van along the road. Thus the description is neatly restricted.
   

10. 
    Despite its infertility, its dangers, and its recurring ugliness, this is the narrator’s land; it is her homeland, and she is devoted to it as a patriot would be.
    

The Monster
Deems Taylor
Answers to Quiz

d, a, b, c, a

Answers to Questions on Meaning and Technique (217)

1. 
   He was a monster of conceit.” Paragraph 2.
   

2. 
   He recounts incidents from the life of this genius that show him to be selfish, irresponsible, egocentric, unscrupulous, disloyal, and overbearing. Almost any paragraph reveals such incidents.
   

3. 
   Allow for open discussion.
   

4. 
   Allow for open discussion.
   

5. 
   He means that any artist of Wagner’s magnificent talent deserves to be supported by society. In other words, the author feels that a cultured, civilized society ought to be willing to support the few rare geniuses.
   

6. 
   Innocent connotes a kind of blamelessness. For instance, a child can be said to be innocent of evil or corruption because the concept of evil is as yet unformed in his or her mind.
   

7. 
   In paragraph 12.
   

Sister Flowers
Maya Angelou
Answers to Quiz

c, b, a, d, d

Answers to Questions About Meaning and Technique (222)

1. 
   Obviously Mrs. Flowers embodied the refinement and education the narrator could not find among most of the people in her neighborhood. Mrs. Flowers looked aristocratic and spoke with a natural, educated refinement—the kind the narrator had met only in novels she had read.
   

2. 
   As often happens among blacks—especially decades ago--the grandmother takes over the nurturing of the grandchildren because the parents are divorced or they have to work and can’t take care of their offspring. So, the grandmother in those cases becomes the mother. The narrator has the typical reaction of most children to their parents: embarrassment because the parent is not as sophisticated, as educated, or as successful as a neighbor. In this case, Marguerite had been reading profusely and therefore had acquired the ability to use proper English grammar whereas her grandmother did not have this advantage. Marguerite is mortified when Momma can’t agree her subjects and verbs and uses the language of black southerners.
   

3. 
   Mrs. Flowers and Momma bonded as human beings because they had much in common and were on intimate terms in matters of life and the people who surrounded them. Have students discuss how they have built strong, intimate relationships with people of less formal education than they have had. For instance, you could have strong bonds of friendship with your TV repairman, your pest control serviceperson, or your shoe repairman. These people may not have a college degree, but they know a great deal about work, life, and human relationships.
   

4. 
   One lesson was that speaking is as important as reading because the human voice can make printed words come to life. The narrator learned that she needed to come out of her shell and speak up in class if she wanted to strengthen her reputation as a good student. Another lesson was about the difference between ignorance and illiteracy. The narrator learned that some illiterate people were not at all ignorant or stupid but had in fact a great deal of common sense or wit with which they could add to the “collective wisdom of generations.” Have students give examples from their experience to distinguish between ignorance and illiteracy.
   

5. 
   For the first time in her life she felt the “enchantment” of reading classical literature, such as Charles Dickens’ A Tale of Two Cities (see paragraph 42). Moreover, for the first time in her life she felt liked and respected for being herself—the person she really was (see paragraph 44).
   

6. 
   She often uses vivid language or figures of speech. Here are some examples: Paragraph 2: The entire paragraph is highly descriptive.
   
   1. 
      Paragraph 3: “Her skin was a rich black that would have peeled like a plum if snagged….”
      
   2. 
      Paragraph 4: The entire paragraph describes Mrs. Flowers’ smile.
      
   3. 
      Paragraph 12: “She acted just as refined as white folks in the movies and books and she was more beautiful, for none of them could have come near that warm color without looking gray by comparison.”
      
   4. 
      Have students point to further examples.
      

7. 
   Here are some typical southern expressions from the text:
   
   1. 
      Paragraph 1: “I sopped around,” meaning “I walked around looking glum and sullen.
      
   2. 
      Paragraphs 12 and 13: “white folks,” or “powhitefolks,” referring to white southerners or poor white southerners.
      
8. 
   Paragraph 17: “chifforobe,” to refer to a chiffonier, a small dresser in which clothes are stored.
   
   1. 
      These expressions increase the authenticity of the story.
      

9. 
   Answers may vary. Encourage students to share their literary experiences with the class.
   

Laundromat
Susan Sheehan

Answers to Quiz

d, c, b, d, a
Answers to Questions on Meaning and Technique (226)

1. 
   The dominant impression is one of busy activity. Details that support this dominant impression are these: Paragraph 1: A pretty young black girl is folding clothes. Paragraph 2: People are busy inserting coins, stuffing clothes into the machines, and adding detergents, bleaches, or softeners during the appropriate cycles. Paragraph 3: The tumbling clothes and linens are in constant motion. Paragraph 4: A middle-aged man wearing a trench coat hurriedly takes a load of children’s clothes out of the washing machine and folds them. A young Japanese boy takes some clothes out of a dryer. Paragraph 5: People come and go.
   

2. 
   Part of the reason this description keeps our attention is that laundromats are familiar places, so we chuckle with a sense of recognition. Additionally, though, Sheehan uses figures of speech that make the scene spring to life. For instance, she writes about “the kaleidoscopic activity” inside the machines. She describes some white shirts “jitterbugging with six or eight pairs of grey socks.” The clothes in the dryers seem to be “free falling, like sky divers drifting down to earth.”
   

3. 
   The author makes a clear class observation when she states that most of the patrons at the laundromat are blacks or Puerto Ricans. The white people can afford to live in apartments that provide a laundry room where they can wash their linens and clothes or they can even afford to send their things out to be cleaned by a Chinese laundry. Another reference to class is the anecdote about the black woman who tossed a chicken bone at someone, but her gesture was accepted as “a reasonable protest against the miserableness of her life.”
   

4. 
   Nothing much has changed. Sheehan’s description is still recognizable today. Perhaps the brand of washing machines has changed from Wascomat to General Electric or some other brand; the price has gone up; and Chinese laundries are not as widespread as they used to be. But in essence the picture of the laundromat is as it was.
   

5. 
   The laundromat is in New York, situated between Seventy-seventh and Seventy-eighth Street on the west side of Broadway. These streets are landmarks of New York City.
   

6. 
   The first parenthetical question occurs in paragraph 4 when the author asks why the father is in such a hurry. The second question also occurs in paragraph 4 when the author wonders to whom the lacy slip and ruffled nightgown, being washed by the Japanese boy, belong. These questions and their speculated answers add intrigue to the description.
   

7. 
   Probably the woman’s age and her blond hair are mentioned because the woman is still young enough to attract attention in the basement laundry of an apartment complex. However, she is not just a teenager who might totally imagine some kind of sexual attack or person lurking about to steal. She is probably not just being paranoid or self-deluded.
   

8. 
   Sheehan appeals to all of our senses: Visual (the signs listed in paragraph 1), hearing (the constant whirring of the machines), smell (the laundromat smells of “a sweet mixture of soap and heat,” paragraph 3), touch (the man in the trench coat holds some damp clothes over his arm, paragraph 4), and taste (the blond woman wishing she could watch her laundry while she savors a cup of coffee and a bun).
   

5. 
   Throughout, the author is very detailed and concrete about enumerating the effects of poverty on his family, down to describing the insertion of cardboard insoles in his shoes to cover the holes. But possibly the most telling paragraph is paragraph 5, when the author says, “Taking my small bag of potatoes to Sunday school, I looked around for the poor children; I was disappointed not to see them.”
   

6. 
   By asking himself a series of questions, the answers to which he already half suspects.
   

7. 
   Dell went on to become a writer of some repute, so the incident cannot have had that great an effect on his life to the point of retarding his development. Allow for open discussion of the second part of the question. Certainly, the trauma of such a discovery could have been devastating on Dell, as on any other small child.
   

8. 
   Certainly, it's plausible. What he means is that he had an intuition, but he did not want to consciously admit to it. Ask your students if they've ever had a similar experience where they knew something viscerally before their minds did.
   

Eleanor Rigby
John Lennon and Paul McCartney
Answers to Quiz

b, c, a, d, a

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