Asap 10 "because i could not stop for death" by emily dickinson because i could not stop for death – he kindly stopped for me – the carriage held but just ourselves – and immortality. we slowly drove – he knew no haste and i had put away my labor and my leisure too, for his civility – we passed the school, where children strove at recess – in the ring – we passed the fields of gazing grain – we passed the setting sun – or rather – he passed us – the dews drew quivering and chill – for only gossamer, my gown – my tippet – only tulle – we paused before a house that seemed a swelling of the ground – the roof was scarcely visible – the cornice – in the ground – since then – 'tis centuries – and yet feels shorter than the day i first surmised the horses' heads were toward eternity – source: dickinson, emily. "because i could not stop for death." poets. org. academy of american poets, n. d. web. 4 apr. 2011

Read the passage from animal farm. "that was part of the arrangement! " cried squealer. "jones's shot only grazed him. i could show you this in his own writing, if you were able to read it. the plot was for snowball, at the critical moment, to give the signal for flight and leave the field to the enemy. and he very nearly succeeded—i will even say, comrades, he would have succeeded if it had not been for our heroic leader, comrade napoleon. do you not remember how, just at the moment when jones and his men had got inside the yard, snowball suddenly turned and fled, and many animals followed him? and do you not remember, too, that it was just at that moment, when panic was spreading and all seemed lost, that comrade napoleon sprang forward with a cry of 'death to humanity! ' and sank his teeth in jones's leg? surely you remember that, comrades? " exclaimed squealer, frisking from side to side. now when squealer described the scene so graphically, it seemed to the animals that they did remember it. at any rate, they remembered that at the critical moment of the battle snowball had turned to flee. but boxer was still a little uneasy. how does the characterization of squealer support the author’s purpose? squealer's dramatic accusations draw parallels between him and stalin’s propagandists. squealer's uncertainty shows that he is not a reliable ally of napoleon and is ineffective with messaging. squealer's ability to get the animals to listen to him shows that any animal can rise to be a leader in time. squealer's humble interactions with the animals reflect the importance of equality and cooperation.

Read the excerpt from part 2 of zeitoun. zeitoun woke with the sun and crawled out of his tent. the day was bright, and as far as he could see in any direction the city was underwater. . he could only think of judgment day, of noah and forty days of rain. and yet it was so quiet, so still. nothing moved. he sat on the roof and scanned the horizon, looking for any person, any animal or machine moving. nothing. as he did his morning prayers, a helicopter broke the silence, shooting across the treetops and heading downtown. why does the author include the details of zeitoun’s morning? to suggest the hopelessness of zeitoun’s situation to illustrate the solitary existence endured by survivors to establish zeitoun’s dedication to the rituals of his faith to reveal the military’s attempts at assistance

Look up "racial violence in the early 1960's" and write information about it