“Paul,” Mitchell called after me one final time. “You know my daddy would’ve near t’ killed me, he’d’ve known for sure I’d been ridin’ that stallion. . . .”
“Then good thing you weren’t riding Ghost Wind, isn’t it?” I said.
Mitchell nodded, and that was as close as Mitchell Thomas came to thanking me and as close as I came to accepting his thanks. But after that, things began to change between Mitchell and me. Now, we still weren’t the best of friends, but there was a new respect building. I believe that both of us were realizing that our judgments of each other were not truly founded. Each of us had something to him the other hadn’t seen before, and out of this realization came a real respect, not just a truce.
—The Land,
Mildred D. Taylor
Which sentence best describes the resolution of the conflict between Paul and Mitchell?
Mitchell and Paul become best friends.
Mitchell comes to like Paul, but Paul still does not like Mitchell.
Paul wants to be friends with Mitchell, but Mitchell still does not want to be friends with Paul.
Mitchell and Paul do not become best friends, but they realize that they may have misjudged each other.

Which statement expresses a theme that is found in both "escape" and "to live"? the search for self–awareness is often a difficult one. life's distractions can make it difficult to know yourself. a person often sees herself differently than others see her. being a part of two cultures can make it hard to know yourself.

Which best explains this excerpt’s purpose in the novel’s plot structure? the excerpt creates conflict between characters as part of the rising action. the excerpt provides background information on a character as part of the exposition. the excerpt returns a character to equilibrium as part of the falling action. the excerpt is the point of greatest tension and acts as the climax.

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.