Anthology Read Alouds

239 Pages·2011·10.68 MB·English

Grade 5
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ACKNOWLEDGMENTS
“La Bamba” from BASEBALL IN APRIL by Gary Soto. “Snakebite” from RATTLESNAKE DANCE: TRUE TALES,
Copyright © 1990 by Gary Soto. Used by permission MYSTERIES AND RATTLESNAKE CEREMONIES by
of Harcourt Brace Jovanovich, Inc. Jennifer Owings Dewey. Copyright © 1997 by Jennifer
Owings Dewey. Used by permission of Caroline House.
“Sally Ann Thunder Ann Whirlwind” from AMERICAN
TALL TALES by Mary Pope Osborne. Copyright © 1991 Excerpt from ON THE MALL IN WASHINGTON, D.C.: A
by Mary Pope Osborne. Used by permission of Alfred VISIT TO AMERICA’S FRONT YARD by Brent Ashabranner.
A. Knopf, Inc. Copyright © 2002 by Brent Ashabranner. Used by
permission of Twenty-First Century Books.
“A Symphony of Trees” by Charles Ghigna from
Children’s Digest, July/August 2004. Copyright © 2004 “Tradition” from UNDER THE SUNDAY TREE by Eloise
by Children’s Better Health Institute, Benjamin Franklin Greenfi eld. Copyright © 1988 by Eloise Greenfi eld.
Literary & Medical Society, Inc. Used by permission of Used by permission of Harper Trophy, a Division of
Children’s Better Health Institute, Benjamin Franklin HarperCollins Publishers.
Literary & Medical Society, Inc.
Excerpt from BORN TO BE A COWGIRL: A SPIRITED RIDE
“Who’s There?” from THE NINE BILLION NAMES THROUGH THE OLD WEST by Candace Savage. Copyright
OF GOD by Arthur C. Clarke. Copyright © 1958 by © 2001 by Candace Savage. Used by permission of
United Newspapers Magazine Corporation. Used by Tricycle Press.
permission of Harcourt Brace Jovanovich, Inc.
“Deborah Sampson: Patriot Soldier Disguised as a Man”
“Barry: The Dog Who Saved People” by Margaret from HEROINES OF THE AMERICAN REVOLUTION by
Davidson from GIVE A DOG A BONE: STORIES, POEMS, Diane Silcox-Jarrett. Copyright © 1998 by Green Angel
JOKES, AND RIDDLES ABOUT DOGS compiled by Press. Used by permission of Green Angel Press.
Joanna Cole and Stephanie Calmenson. Copyright
“Motivating Kids: A Visit with Kids Voting USA” by Meg
© 1996 by Joanna Cole and Stephanie Calmenson.
Chorlian from Cobblestone, March 2004. Copyright
Used by permission of Scholastic Inc.
© 2004 by Carus Publishing Company. Used by
“Close Encounters of the Bear Kind” by Susan Quinlan permission of Carus Publishing Company.
from Muse, November 2000. Copyright © 2000 by
Excerpt from DEAR WORLD: HOW CHILDREN AROUND
Carus Publishing Company. Used by permission of Carus
THE WORLD FEEL ABOUT OUR ENVIRONMENT, edited
Publishing Company.
by Lannis Temple. Copyright © 1993 by Random
House, Inc. Used by permission of Random House, Inc.
Continued on page 242
A
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reproduced in print form for non-profi t educational use with Macmillan/McGraw-Hill TREASURES.
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CONTENTS
Introduction
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Literature Selections
La Bamba . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Fiction by Gary Soto
Sally Ann Thunder Ann Whirlwind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
A tall tale by Mary Pope Osborne
A Symphony of Trees. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
A poem by Charles Ghigna
Who’s There? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Science fi ction by Arthur C. Clarke
Barry: The Dog Who Saved People . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Narrative nonfi ction by Margaret Davidson
Close Encounters of the Bear Kind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Narrative nonfi ction by Susan Quinlan
Snakebite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Autobiography by Jennifer Owings Dewey
The Great Mall Memorials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Nonfi ction/Expository by Brent Ashabranner
Tradition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
A poem by Eloise Greenfi eld
Born in the Saddle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
A biography by Candace Savage
Deborah Sampson: Patriot Soldier Disguised as a Man. . . 60
Nonfi ction/Expository by Diane Silcox-Jarrett
Grade 5 3
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A Visit with Kids Voting USA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Nonfi ction/Expository by Meg Chorlian
Dear World: How Children Around the World Feel
About Our Environment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Persuasive letters edited by Lannis Temple
Mojave. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
A poem by Diane Siebert
If I Only Had a Brain: Artifi cial Intelligence. . . . . . . . . . . . . . . . . . . 78
Nonfi ction/Expository by Carol Sonenklar
The Mother of the Movement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
A poem by Carole Boston Weatherford
Ptooey! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Nonfi ction/Expository by Linda Schneider
The Gettysburg Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
A persuasive speech by Abraham Lincoln
Nature’s Fury: For Better or Worse. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Nonfi ction/Expository by Stephen James O’Meara
The Hen and the Apple Tree. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
A fable by Arnold Lobel
The Circle and the Poles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
A poem by J. Patrick Lewis
Looking Back at Vegetables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Nonfi ction/Expository by Anne Mountfi eld
All But Blind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
A poem by Walter de la Mare
Codemakers and Codebreakers Hall of Fame. . . . . . . . . . . . . . .111
Nonfi ction/Expository by Paul B. Janeczko
How the Whale Got His Throat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
A pourquoi tale by Rudyard Kipling
Yeh-hsien. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
A fairy tale retold by Judy Sierra
John Muir: Man of the Mountains . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
A biography by Ginger Wadsworth
The Seeing Stick. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127
A folktale retold by Jane Yolen
The Montgolfi er Brothers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
A biography by Bo Zaunders
The Microscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
A poem by Maxine Kumin
4 Table of Contents
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Plays and Choral Readings
It Couldn’t Be Done . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146
A Boy Named Abe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .147
A Thousand Miles to Freedom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156
The Golden Door . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Jane Addams and Hull House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199
‘Round the World with Nellie Bly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207
Think-Aloud Copying Masters
1 Generate Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
2 Make Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
3 Visualize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
4 Draw Inferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
5 Analyze Text Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
6 Determine Importance in Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
7 Summarize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
8 Monitor Comprehension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Index by Genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240
Grade 5 5
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I N T E R A C T I V E
ANTHOLOGY with PLAYS
Developing Listening Comprehension
Read Alouds help to build students’ listening comprehension. This anthology
off ers selections from a variety of genres, including biography, fi ction,
folktales, nonfi ction, primary sources, songs, and poetry, to share with
students. Instruction is provided with each selection to develop specific
comprehension strategies. Students are asked to set a purpose for
listening, as well as to determine the author’s purpose for writing. Using
the instruction provided, each Read Aloud becomes an enjoyable, purposeful
learning experience.
What Makes a Read Aloud Interactive?
With each selection, Teacher Think Alouds are provided to help you model
the use of comprehension strategies during reading. Using Think Alouds
allows students to listen and to observe how a good reader uses strategies to
get meaning from text. After reading, students are given the opportunity to
apply the comprehension strategy. Students are asked to “think aloud” as
they apply the strategy. By listening to a Student Think Aloud, you can
determine if the student is applying the comprehension strategy
appropriately and with understanding.
Think-Aloud Copying Masters included in the Read-Aloud Anthology
provide sentence starters to help students “think aloud” about a strategy.
(cid:25)(cid:20)(cid:19)
(cid:19)(cid:20)(cid:19)(cid:53)(cid:73)(cid:74)(cid:79)(cid:76)(cid:14)(cid:34)(cid:77)(cid:80)(cid:86)(cid:69)(cid:1)(cid:36)(cid:80)(cid:81)(cid:90)(cid:74)(cid:79)(cid:72)(cid:1)(cid:46)(cid:66)(cid:84)(cid:85)(cid:70)(cid:83)(cid:1)(cid:18) (cid:42)(cid:1)(cid:88)(cid:80)(cid:79)(cid:69)(cid:70)(cid:83)(cid:1)(cid:15)(cid:1)(cid:15)(cid:1)(cid:15) (cid:24)(cid:1)(cid:83)(cid:70)(cid:85)(cid:84)(cid:66)(cid:46)(cid:1)(cid:72)(cid:79)(cid:74)(cid:90)(cid:81)(cid:80)(cid:36)(cid:1)(cid:69)(cid:86)(cid:80)(cid:77)(cid:34)(cid:14)(cid:76)(cid:79)(cid:74)(cid:73)(cid:53) (cid:53)T(cid:73)h(cid:74)i(cid:84)sa(cid:66)(cid:1) b(cid:67)(cid:88)wo(cid:80)(cid:66)au(cid:86)(cid:84)st(cid:85)(cid:1) (cid:78)m (cid:1)(cid:15).(cid:1) (cid:15)(cid:80).o(cid:1) (cid:15).(cid:84)s(cid:85)t(cid:77)l(cid:90)y(cid:1)
(cid:157)(cid:21)(cid:66)(cid:86)(cid:88)(cid:98)(cid:94)(cid:97)(cid:97)(cid:86)(cid:99)(cid:36)(cid:66)(cid:88)(cid:60)(cid:103)(cid:86)(cid:108)(cid:34)(cid:61)(cid:94)(cid:97)(cid:97)
(cid:157)(cid:21)(cid:66)(cid:86)(cid:88)(cid:98)(cid:94)(cid:97)(cid:97)(cid:86)(cid:99)(cid:36)(cid:66)(cid:88)(cid:60)(cid:103)(cid:86)(cid:108)(cid:34)(cid:61)(cid:94)(cid:97)(cid:97)
Introduction 7
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Plays and Choral Readings
Reader’s Theater for Building Fluency
You can use the plays and choral readings found at the back of this anthology
to perform a Reader’s Theater with students. Reading fl uency is developed by
repeated practice in reading text, especially when the reading is done orally.
Reader’s Theater can help build students’ fl uency skills because it engages
them in a highly motivating activity that provides an opportunity to read—
and reread—text orally. As students practice their assigned sections of the
“script,” they have multiple opportunities to increase their accuracy in word
recognition and their rate of reading. Students are also strongly motivated to
practice reading with appropriate phrasing and expression.
Performing Reader’s Theater
•
Assign speaking roles.
•
Do not always assign the speaking role with the most text to the most
fl uent reader. Readers who need practice reading need ample opportunity
to read.
•
Have students rehearse by reading and rereading their lines over several
days. In these rehearsals, allow time for teacher and peer feedback about
pace, phrasing, and expression.
•
Students do not memorize their lines but rather read their lines from
the script.
•
No sets, costumes, or props are necessary.
8 Introduction
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from Baseball in April
by Gary Soto
Genre: Fiction
Comprehension Strategy: Analyze Story Structure
Think-Aloud Copying Master number 5
Before Reading
Genre: Explain to students that you will be reading aloud a work of realistic
fi ction about what happens when a boy volunteers for a school talent show.
Point out that realistic fi ction combines fi ctional characters with events that
could happen in real life.
Expand Vocabulary: To add to students’ understanding of the story,
introduce the following words:
volunteered: off ered to do something
limelight: t he focus of attention
applause: c lapping
pantomime: a silent performance
rehearsal: a practice session for a performance
Set a Purpose for Reading: D irect students to listen for details that place
the main character in a modern setting, yet show that he went to school in
the recent past. Have them read to fi nd out why the story is called
“La Bamba.”
During Reading
Use the Think Alouds during the fi rst reading of the story. Notes about the
genre and cultural perspectives may be used during subsequent readings.
La Bamba 9
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by Gary Soto
Manuel was the fourth of seven children and looked like
a lot of kids in his neighborhood: black hair, brown face, and
skinny legs scuff ed from summer play. But summer was giving
way to fall: the trees were turning red, the lawns brown, and
the pomegranate trees were heavy with fruit. Manuel walked
to school in the frosty morning, kicking leaves and thinking
of tomorrow’s talent show.¹ He was still amazed that he had
volunteered. He was going to pretend to sing Ritchie Valens’s
“La Bamba” before the entire school.
¹ I notice the author tells
Why did I raise my hand? he asked himself, but in his heart
me a lot about the char-
he knew the answer. He yearned for the limelight. He wanted
acter, setting, and plot
applause as loud as a thunderstorm and to hear his friends
in this fi rst paragraph.
say, “Man, that was bad!” And he wanted to impress the girls,
The author makes it
especially Petra Lopez, the second-prettiest girl in his class. Th e
clear that Manuel is the
prettiest was already taken by his friend Ernie. Manuel knew he
main character, shows
should be reasonable since he himself was not great-looking,
me what he’s like, where
just average.
he lives, and even gives
clues to the time of year. Manuel kicked through the fresh-fallen leaves. When he got
I also know that the to school he realized he had forgotten his math workbook. If his
plot will involve a talent teacher found out, he would have to stay aft er school and miss
show. What happens practice for the talent show. But fortunately for him, they did
there will probably be drills that morning.
an important part of During lunch Manuel hung around with Benny, who was
the story.
also in the talent show. Benny was going to play the trumpet in
spite of the fat lip he had gotten playing football.
“How do I look?” Manuel asked. He cleared his throat and
started moving his lips in pantomime. No words came out, just
a hiss that sounded like a snake. Manuel tried to look emotional,
fl ailing his arms on the high notes and opening his eyes and
mouth as wide as he could when he came to “Para bailar la
baaaaammmba.”
Aft er Manuel fi nished, Benny said it looked all right, but
suggested Manuel dance while he sang. Manuel thought for a
moment and decided it was a good idea.
“Yeah, just think you’re like Michael Jackson or someone like
that,” Benny suggested. “But don’t get carried away.”
10
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During rehearsal, Mr. Roybal, nervous about his debut as the Genre Study
school’s talent coordinator, cursed under his breath when the
Fiction: Dialogue is
lever that controlled the speed of the record player jammed.
a written conversa-
“Darn,” he growled, trying to force the lever. “What’s wrong
tion between charac-
with you?”
ters. Writers include
“Is it broken?” Manuel asked, bending over for a closer look.
dialogue to show how
It looked all right to him. characters interact and
Mr. Roybal assured Manuel that he would have a good record to bring the story to
player at the talent show, even if it meant bringing his own stereo life. Gary Soto shows
from home. how people really talk
Manuel sat in a folding chair, twirling his record on his thumb. by using things such
He watched a skit about personal hygiene, a mother-and-daughter as incomplete sen-
tences and slang.
violin duo, fi ve fi rst-grade girls jumping rope, a karate kid breaking
boards, and a skit about the pilgrims. If the record player hadn’t
been broken, he would have gone aft er the karate kid, an easy act to
follow, he told himself.²
As he twirled his forty-fi ve record, Manuel thought they had
a great talent show. Th e entire school would be amazed. His
² I notice the writer used
mother and father would be proud, and his brothers and sisters
details that show the
would be jealous and pout. It would be a night to remember.
story’s setting is modern
Benny walked onto the stage, raised his trumpet to his mouth,
but not as modern as
and waited for his cue. Mr. Roybal raised his hand like a symphony
today. Manuel uses a
conductor and let it fall dramatically. Benny inhaled and blew
record, while today a
so loud that Manuel dropped his record, which rolled across the
student might have a CD
cafeteria fl oor until it hit a wall. Manuel raced aft er it, picked it up,
or MP3 player. Other-
and wiped it clean.
wise, Manuel’s school
“Boy, I’m glad it didn’t break,” he said with a sigh. sounds a lot like our
Th at night Manuel had to do the dishes and a lot of homework, own.
so he could only practice in the shower. In bed he prayed that he
wouldn’t mess up. He prayed that it wouldn’t be like when he was a
fi rst-grader. For Science Week he had wired together a C battery and
a bulb and told everyone he had discovered how a fl ashlight worked.
He was so pleased with himself that he practiced for hours pressing
the wire to the battery, making the bulb wink a dim, orangish light.
He showed it to so many kids in his neighborhood that when it
was time to show his class how a fl ashlight worked, the battery was
dead. He pressed the wire to the battery, but the bulb didn’t respond.
He pressed until his thumb hurt and some kids in the back started
snickering.
But Manuel fell asleep confi dent that nothing would go
wrong this time.
La Bamba 11