Read the excerpt from act 1 of The Monsters Are Due on Maple Street. As they suddenly start toward the house. In this brief fraction of a moment they take the first step toward
performing a metamorphosis that changes people from a group into a mob. They begin to head purposefully
across the street toward the house at the end. Steve stands in front of them. For a moment their fear almost turns
their walk into a wild stampede but Steve's voice, loud, incisive and commanding makes them stop.
STEVE
Wait a minute ... wait a minute! Let's not be a mob!
The people stop as a group, seem to pause for a moment and then much more quietly and slowly start to walk
across the street.
What is Steve's perspective about the group approaching Les Goodman's house?
He hopes the mob will scare Goodman.
He fears for Goodman's safety in the mob.
He hopes that Goodman caused the outage.
He fears for his own safety in the mob

When is the best time to evaluate options? a. during the first step of decision-making b. as you identify options c. after you've identified many options

Read this excerpt from “what i hope to leave behind.” for a number of years it took so much vitality to keep the home going, and that home represented so many different kinds of activities, that none of us had any urge to go outside of this sphere. if “what i hope to leave behind” was the subject of a class discussion, why might paraphrasing this sentence be ? you could analyze the key themes while also staying true to the original language. you could summarize the key ideas, which would shorten the length of the excerpt. you could use your own ideas and concepts, which would add important information. you could rephrase it in your own words, which might clarify the meaning of the excerpt.

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.