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(n o Go o g l e a n s w e r s)

[1] nothing that comes from the desert expresses its extremes better than the unhappy growth of the tree yuccas. tormented, thin forests of it stalk drearily in the high mesas, particularly in that triangular slip that fans out eastward from the meeting of the sierras and coastwise hills. the yucca bristles with bayonet-pointed leaves, dull green, growing shaggy with age like an old [5] man's tangled gray beard, tipped with panicles of foul, greenish blooms. after its death, which is slow, the ghostly hollow network of its woody skeleton, with hardly power to rot, makes even the moonlight fearful. but it isn't always this way. before the yucca has come to flower, while yet its bloom is a luxurious, creamy, cone-shaped bud of the size of a small cabbage, full of sugary sap. the indians twist it deftly out of its fence of daggers and roast the prize for their [10] own delectation why does the author use the words "bayonet-pointed" (line 4) and "fence of daggers" (line 9) to describe the leaves of the yucca tree? . to create an image of the sharp edges of the plant to emphasize how beautiful the plant's leaves are to explain when and where the plant grows to show how afraid the author is of the plant

The following question asks about one or more selections from your literature textbook. you may use your textbook to answer this question. both “lob’s girl” and “jeremiah’s song” contain flashbacks. in a paragraph, explain what this plot technique adds to the stories. support your answer with one detail from each story.

Match the bolded words in the excerpts to their contextual meanings. unoriginal well-groomed numerous he was a gentleman from sole to crown, clean favored and imperially slim. (from "richard cory" by edwin arlington robinson) this debt we pay to human guile; with torn and bleeding hearts we smile, and mouth with myriad subtleties. (from "we wear the mask" by paul lawrence dunbar) . .if it must, these things are important not because a high-sounding interpretation can be put upon them but because they are useful. when they become so derivative as to become unintelligible, the same thing may be said for all of us, that we do not admire what we cannot understand. . (from "poetry" by marianne moore)