2. A Fable for Tomorrow By Rachel CarsonBy Rachel Carson

4. Building vocabulary 1. Laurel, alder, great ferns, weeds, migrants1. Laurel, alder, great ferns, weeds, migrants 2. A. water in the form of particles floating or falling in the atmosphere; haze2. A. water in the form of particles floating or falling in the atmosphere; haze B. erectedB. erected C. afflicted with misfortune or diseaseC. afflicted with misfortune or disease D. sat on or incubated eggsD. sat on or incubated eggs F. fishermanF. fisherman

5. Understanding the writer ’ s ideas 1. Par. 1 suggests a world of natural beauty and harmony.1. Par. 1 suggests a world of natural beauty and harmony. 2. She describes an abundance of nature in all forms — flora and fauna — in order to describe a comlete picture of the healthy natural environment.2. She describes an abundance of nature in all forms — flora and fauna — in order to describe a comlete picture of the healthy natural environment.

6. Understanding the writer ’ s ideas 3. She continually describes it in terms of strangeness and suddenness: “ strange blight ” (2); “ unexplained deaths ” (2); “ strange stillness ” (3).3. She continually describes it in terms of strangeness and suddenness: “ strange blight ” (2); “ unexplained deaths ” (2); “ strange stillness ” (3). 4. The fact that description relates to the title of the book itself, Silent Spring — in other words, a springtime with a deathlike pall rather than the lively sounds expected4. The fact that description relates to the title of the book itself, Silent Spring — in other words, a springtime with a deathlike pall rather than the lively sounds expected

7. Understanding the writer ’ s ideas 5. She refers to poisonous chemical insecticides, specifically DDT, but purposefully does not explain its appearance in order to maintain interest in the mysterious “ grim specter. ”5. She refers to poisonous chemical insecticides, specifically DDT, but purposefully does not explain its appearance in order to maintain interest in the mysterious “ grim specter. ”

8. Understanding the writer ’ s ideas 6. Her point is that the tragedy is self-inflicted, but she does not as yet offer a solution.6. Her point is that the tragedy is self-inflicted, but she does not as yet offer a solution.

9. Understanding the writer ’ s techniques 1. The narrative structure is to tell the story of an imaginary town that undergoes a drastic and unexpected transformation.1. The narrative structure is to tell the story of an imaginary town that undergoes a drastic and unexpected transformation. 2. The precise and vivid descriptions make the contrast between the time before and after the tragedy all the more startling.2. The precise and vivid descriptions make the contrast between the time before and after the tragedy all the more startling.

10. Understanding the writer ’ s techniques 3. At the very beginning of par. 3.3. At the very beginning of par. 3. 4. Contrast4. Contrast 5. A. in block A, she presents a beautiful, lively natural environment. In block B, she presents images of death and destruction within the same environment.5. A. in block A, she presents a beautiful, lively natural environment. In block B, she presents images of death and destruction within the same environment.

11. Understanding the writer ’ s techniques 5. B. Two different aspects. The chronology shows the transformation taking place over a lliner period of time.5. B. Two different aspects. The chronology shows the transformation taking place over a lliner period of time. 5. C. The negative descriptions of block B are more developed in order to establish the horror of the “ stark reality. ”5. C. The negative descriptions of block B are more developed in order to establish the horror of the “ stark reality. ” 5. D. No, although she introduces more and more specific references as well as manmade structure.5. D. No, although she introduces more and more specific references as well as manmade structure.

12. Understanding the writer ’ s techniques 6. Pars. 8 and 9 begin to offer an explanation for the stark contrasts but essentially leave the question open-ended.6. Pars. 8 and 9 begin to offer an explanation for the stark contrasts but essentially leave the question open-ended.