A Fable for TomorrowA Fable for Tomorrow

• By Rachel CarsonBy Rachel Carson

Building vocabularyBuilding vocabulary

• 1. Laurel, alder, great ferns, weeds, migrants1. Laurel, alder, great ferns, weeds, migrants• 2. A. water in the form of particles floating o2. A. water in the form of particles floating o

r falling in the atmosphere; hazer 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

Understanding the writer’s Understanding the writer’s ideasideas

• 1. Par. 1 suggests a world of natural be1. Par. 1 suggests a world of natural beauty and harmony.auty and harmony.

• 2. She describes an abundance of natu2. She describes an abundance of nature in all formsre in all forms—flora and fauna—in or—flora and fauna—in order to describe a comlete picture of thder to describe a comlete picture of the healthy natural environment.e healthy natural environment.

Understanding the writer’s Understanding the writer’s ideasideas

• 3. She continually describes it in terms 3. She continually describes it in terms of strangeness and suddenness: of strangeness and suddenness: “strange blight” (2); “unexplained “strange blight” (2); “unexplained deaths” (2); “strange stillness” (3).deaths” (2); “strange stillness” (3).

• 4. The fact that description relates to the 4. The fact that description relates to the title of the book itself, title of the book itself, Silent SpringSilent Spring—in —in other words, a springtime with a other words, a springtime with a deathlike pall rather than the lively deathlike pall rather than the lively sounds expectedsounds expected

Understanding the writer’s Understanding the writer’s ideasideas

• 5. She refers to poisonous chemical in5. She refers to poisonous chemical insecticides, specifically DDT, but purposecticides, specifically DDT, but purposefully does not explain its appearancsefully does not explain its appearance in order to maintain interest in the me in order to maintain interest in the mysterious “grim specter.”ysterious “grim specter.”

Understanding the writer’s Understanding the writer’s ideasideas

• 6. Her point is that the tragedy is self-i6. Her point is that the tragedy is self-inflicted, but she does not as yet offer a nflicted, but she does not as yet offer a solution.solution.

Understanding the writer’s Understanding the writer’s techniquestechniques

• 1. The narrative structure is to tell the story 1. The narrative structure is to tell the story of an imaginary town that undergoes a drastof an imaginary town that undergoes a drastic and unexpected transformation.ic and unexpected transformation.

• 2. The precise and vivid descriptions make t2. The precise and vivid descriptions make the contrast between the time before and afthe contrast between the time before and after the tragedy all the more startling.er the tragedy all the more startling.

Understanding the writer’s Understanding the writer’s techniquestechniques

• 3. At the very beginning of par. 3.3. At the very beginning of par. 3.• 4. Contrast4. Contrast• 5. A. in 5. A. in block Ablock A, she presents a beautif, she presents a beautif

ul, lively natural environment. In ul, lively natural environment. In block block BB, she presents images of death and d, she presents images of death and destruction within the same environmeestruction within the same environment.nt.

Understanding the writer’s Understanding the writer’s techniquestechniques

• 5. B. Two different aspects. The chronology 5. B. Two different aspects. The chronology shows the transformation taking place over shows the transformation taking place over a lliner period of time.a lliner period of time.

• 5. C. The negative descriptions of block B ar5. C. The negative descriptions of block B are more developed in order to establish the he more developed in order to establish the horror of the “stark reality.”orror of the “stark reality.”

• 5. D. No, although she introduces more and 5. D. No, although she introduces more and more specific references as well as manmadmore specific references as well as manmade structure.e structure.

Understanding the writer’s Understanding the writer’s techniquestechniques

• 6. Pars. 8 and 9 begin to offer an expla6. Pars. 8 and 9 begin to offer an explanation for the stark contrasts but essenation for the stark contrasts but essentially leave the question open-ended.ntially leave the question open-ended.