Point of View in Helen Keller's Memoir, The Story of My Life Answers

Read this excerpt from a play.(The scene opens on a room full of people. There are photographs lining the table, and each one shows the same person at various stages of life. There are pictures of him as a young boy, other pictures of him on athletic teams, family pictures, and a graduation picture. That same young man stands in the middle of the room, shaking hands with an adult. He then turns to address the group.)JESSE: (loudly) Thank you so much for coming. I am so glad you could all be here today. This is too much. (He looks around, indicating the streamers, balloons, and cake.)GUEST: We wouldn’t miss it! We heard there would be cake. . . .JESSE: There is! But first, I want to thank all of you for the support you’ve given me throughout school. You’ve helped me study, earn money, and stay out of trouble, and finish school. (He pauses, stepping in front of the table and looking at his parents.) I could never have done it without you.Which setting detail reveals the celebratory mood?

Read this scene from The Miracle Worker Act 2.HELEN in her customary unkempt state is tucking her doll in the bottom drawer as a cradle, the contents of which she has dumped out, creating as usual a fine disorder.How do these stage directions add meaning to the play?

Read this excerpt from The Miracle Worker Act 2.(She drops her eyes to spell into HELEN’S hand, again indicating the card; HELEN spells back, and ANNIE is amused.)KATE [TOO QUICKLY]: What did she spell?ANNIE: I spelled card. She spelled cake!(She takes in KATE’S quickness and shakes her head, gently.)No, it’s only a finger game to her, Mrs. Keller. What she has to learn first is that things have names.KATE: And when will she learn?ANNIE: Maybe after a million and one words.(They hold each other’s gaze; KATE then speaks quietly.)KATE: I should like to learn those letters, Miss Annie.What does the dialogue reveal about Kate?

Read this scene from The Miracle Worker Act 2.The only room visible in the KELLER house is ANNIE’S, where by lamplight ANNIE in a shawl is at a desk writing a letter; at her bureau HELEN in her customary unkempt state is tucking her doll in the bottom drawer as a cradle, the contents of which she has dumped out, creating as usual a fine disorder.ANNIE mutters each word as she writes her letter, slowly, her eyes close to and almost touching the page, to follow with difficulty her penwork.ANNIE: ". . . and, nobody, here, has, attempted, to, control, her. The, greatest, problem, I, have, is, how, to, discipline, her, without, breaking, her, spirit.”(Resolute voice) "But, I, shall, insist, on, reasonable, obedience, from, the, start—”(At which point HELEN, groping about on the desk, knocks over the inkwell. ANNIE jumps up, rescues her letter, rights the inkwell, grabs a towel to stem the spillage, and then wipes at HELEN’S hands. . . .)Which setting detail establishes the time period and advances the action?

Read this excerpt from The Miracle Worker Act 2.ANNIE: No, it’s how I watch you talk to Mildred.KATE: Mildred.ANNIE: Any baby. Gibberish, grown-up gibberish, baby-talk gibberish, do they understand one word of it to start? Somehow they begin to. If they hear it, I’m letting Helen hear it. KATE: Other children are not—impaired.ANNIE: Ho, there’s nothing impaired in that head. It works like a mousetrap!Based on the dialogue, which statement best describes Annie?

Read this excerpt from a play.(The scene begins aboard a whale-watching boat. Many students slouch on benches, others lean lazily on ferry railings. A few students thumb through shiny brochures, shaking their heads and grumbling quietly.)GREGOR: This is not what I expected.OMAR: Yeah. Whale watching? More like wave watching. What a rip off.(OMAR turns to a whale picture in his brochure and holds it up to the group. A few heads nod, but it is not the reaction he hoped for. He retreats to a quiet bench. A splash a few yards out in the water stirs the group, and many rise.)GREGOR: That’s more like it. Guys, c’mere. Look here, just below the surface. (Students lean forward, many pull phones and cameras from their coat pockets.)Which setting detail advances the action of the scene?

Read this scene from The Miracle Worker Act 2.[ANNIE:] Good, girl.(She lets HELEN feel the smile on her face. HELEN sits with a scowl, which suddenly clears; she pats the doll, kisses it, wreathes her face in a large artificial smile, and bears the doll to the washstand, where she carefully sits it. ANNIE watches, pleased.)Very good girl—(Whereupon HELEN elevates the pitcher and dashes it on the floor instead. ANNIE leaps to her feet and stands inarticulate; HELEN calmly gropes back to the sewing card and needle.ANNIE manages to achieve self-control. She picks up a fragment or two of the pitcher, sees HELEN is puzzling over the card, and resolutely kneels to demonstrate it again. She spells into HELEN’S hand.KATE meanwhile coming around the corner with folded sheets on her arm, halts at the doorway and watches them for a moment in silence; she is moved, but level.)Which element of the setting establishes the time period and advances the action?

Read this excerpt from The Miracle Worker Act 2.KATE: I’m sorry, Miss Annie.ANNIE [INDIGNANTLY]: Why does she get a reward? For stabbing me?KATE: Well—(Then, tiredly)We catch our flies with honey, I’m afraid. We haven’t the heart for much else, and so many times she simply cannot be compelled.ANNIE [OMINOUS]: Yes. I’m the same way myself.Based on the dialogue, which statement best describes Kate?

Read this scene from The Miracle Worker Act 2.([ANNIE] wipes the hand clean and leads HELEN to her bureau, where she looks for something to engage her. She finds a sewing card, with needle and thread, and going to her knees, shows HELEN’S hand how to connect one row of holes.)How do these stage directions add meaning to the play?

Read this scene from The Miracle Worker Act 3.(Now HELEN begins groping, sensing something, trembling herself; and KATE, falling one step in onto her knees, clasps her, kissing her. HELEN clutches her, tight as she can. KATE is inarticulate, choked, repeating HELEN’S name again and again. She wheels with her in her arms, to stumble away out the doorway. . . .)How do these stage directions add meaning to the play?