Read the excerpt from Lizzie Bright and the Buckminster Boy.And that was how Lizzie saw him as she came up the coast: his back to her, wearing a white shirt fit for glory, throwing rocks up into the air and swinging at them with a piece of driftwoodIf she had figured he had come for a place to breathe, she might have been more understanding—even if she had wondered about him some. If she had figured he was absolutely and completely crazy, she would have let him be. But as far as she knew, he was standing with his left leg forward on her shore, in a place where she had come to clam and to breathe. It was as if he were telling her to move on.And she had had enough of that.
A , static character stays the same even though there is conflict in the story.
Which is an example of external conflict in Lizzie Bright and the Buckminster Boy?
Read this description of Phippsburg from Lizzie Bright and the Buckminster Boy.So [Turner] went on toward the sea. He passed the yellow-shuttered house, half wishing that Mrs. Hurd were on the porch. He passed the picket fence of Mrs. Cobb's, steering as clear of it as if it were the wall of Jericho about to fall. He kept his face to the sea breeze as the line of white houses at the end of Parker Head sputtered, revived in a solid row, and finally gave out and let the road twist by itself up into cedars.Turner held himself to a slow walk, his hands politely out of his pockets. (Who knew if Mrs. Cobb might still be watching him from some murky spot where dark things lurked?) But as he climbed into the thicket of trees and the air grew cooler, and as the road thinned to a path, and as the cedars gave way to birches, then aspens, then pines, Turner felt as though he were taking off the black robes that enveloped his father.
In Lizzie Bright and the Buckminster Boy,Turner disagrees with the townspeople who want to remove everyone from Malaga Island because Turner
Read the excerpt from Lizzie Bright and the Buckminster Boy.[Mr. Stonecrop] draped his arm around Turner's shoulders and drew him in, into his strength and power and presence. Turner felt as if he were moving in close to a mountain. But when he looked up into Mr. Stonecrop's face, he shuddered. Mr. Stonecrop was laughing, and his mouth was pulled into a grin, but his eyes were as dead as marbles, almost as if there were nothing behind them. He was like someone out of a ghost story, and Turner tried to draw away.
Read the excerpt from Lizzie Bright and the Buckminster Boy.And that was when Turner suddenly knew that he was late for dinner, that Reverend Buckminster would be figuring that he'd fallen into some rocky chasm or drowned in the sea, or worse yet, that he'd come up with some other way to embarrass the new minister. And he figured that when he showed up alive after all, his father would stand on the porch and look at him in a way that said Turner would never be the kind of son he had hoped for—it
A conflict is a struggle between forces in a story.
Read the excerpts from Lizzie Bright and the Buckminster Boy.Excerpt 1:Turner shifted the pail of clams to his other hand, and they followed the curve of the beach past the schoolhouse—the trimmest building on the island—past more shingled one-room homes . . .Excerpt 2:"We tried educating them. We built a school and hired a teacher, all at the town's expense. But that didn't do a single bit of good. . . . There will be those in town who insist that we should keep the school up, that we should spend even more money than we have from the town treasury on other schemes well-intentioned but foolish.”
Which details of daily life in coastal Maine hint that the story takes place in a past era? Select two answers.
Did you find these answers helpful?