Prestwick House Othello Study Guide And Answers
. Which French author was shot in the leg and left with a permanent limp by his nephew, a young man who suffered from paranoia?. True or False: Heath Ledger was named after Healthcliff in Emily Bronte’s Wuthering Heights. Which 16th century Italian painter was considered by his contemporaries to be one of the greatest poets of all time?. Which of Shakespeare’s close friends and fellow authors is buried in a standing position in Westminster Abbey?. Which 20th century French Journalist wrote an entire book one letter at a time — indicating the next correct letter by blinking only his left eye?
This AP* Literature Teaching Unit helps you teach Othello and at the s. A chapter-by-chapter study guide consisting of short-answer questions that require. This flip book study guide for Othello has study questions and information in a fun, flip-up style that. Each act has study guide questions to answer; Answer key for the study guide questions. Outliers Prestwick House Novel Teaching Unit. Othello - Downloadable AP. Every title-specific Prestwick House AP. Literature using the chapter-by-chapter study guide Helps students to focus in on the type.
Last Week's Answers Which American fiction writer began his writing career while working as a pencil sharpener wholesaler in 1911? Edgar Rice Burroughs Tybalt, in Shakespeare’s Romeo and Juliet is named after which anthropomorphic character? Tybalt is named after Tybalt/Tibert, the Prince of Cats in the Reynard the Fox stories. Mercutio alludes to this connection between characters when he says that Tybalt is “More than Prince of Cats” in Act II, Scene iv. The word “girl” appears only once in what world-famous literary work? The word 'girl' appears only once in the Bible in Joel 3:3. The word “girls” appears once in Zechariah 8:5.
Which children’s author wrote his first book in 1936 while crossing the Atlantic on a luxury liner? Seuss wrote his first book on the luxury liner Kungsholm. The sound of the ship’s engines annoyed him, and his wife suggested that he use their rhythm to help him write a book in rhyme. The book, And to Think That I Saw It on Mulberry Street, was rejected by publishers 27 times before Vanguard Publishing took a chance and accepted the manuscript. What was the first book Amazon ever sold? The first book Amazon.com sold was Douglas Hofstadter's Fluid Concepts and Creative Analogies: Computer Models of the Fundamental Mechanisms of Thought.
Consider the following writing prompts:. Study the following passage from chapter IV and write a coherent, well-written essay in which you argue whether or not Lord Lordly and his wife, Lady Lordly, articulate conventional attitudes toward gender roles in marriage.Be sure to establish a clear thesis early on and support your ideas with references from the passage. Do not merely summarize the passage. Arthur Sname’s novel not only presents a frank account of a soldier’s experiences in combat, it also highlights the difficulty of reconciling the life of the soldier with the life the civilian life left behind and eventually returned to.
Write a well-organized essay in which you describe the trauma soldiers experience when moving between their lives on the battlefield and their lives at home before or after the war. You may want to focus on one particular character, if you choose to do so.Considering Namuv Kairkter’s story in “This is the Title of His Story” is one possibility, but you may choose any character(s) in order to formulate your ideas. Authors frequently use irony in order to reveal their attitude toward the subject and characters and to enable readers to evaluate plot developments and characters’ actions effectively and critically. Write a well-organized essay in which you explore the central irony of the novel by.analyzing the protagonist’s belief that his life will be better if he can only retain his youthful appearance when, in fact, the degeneration of his soul and the confusion of his sense of right and wrong drive him deeper and deeper into a state of despair and anguish.
Additionally, you may want to consider other instances of irony in the text. Now, they display a fairly vast array of language and organizational problems (which we can tackle on another day), but today I’m asking you to pay particular attention to the portions between the asterisks (.). Remember, we’re talking about rigor. See the problem? Okay I’ll tell you (if you’ve already discovered it, please remain in your seat and do not blurt out the answer), but before I do, let me assure you that these are all “real” prompts from “real” sources like a not-yet-published teaching guide, a twelfth-grade English final exam, and a prospective writer’s writing sample.
They’re real, and they were all submitted as good and workable. So here’s the problem with them. If we’re talking rigor, we have to allow the kid to do some thinking for himself.
We have to be willing to let the kid be “wrong,” and we have to then help the kid learn how and why he was “wrong” in this instance so he can be “more right” the next time. Every single one of the above prompts does some degree of the kid’s thinking for him. Prompt #1 is the least problematic. All it does is remind the kid to “establish a clear thesis early on and support your ideas with references from the passage.” Of course, they would be references to the passage, but what’s a few grammatical errors among friends? If this were a prompt on a large-scale assessment with lots of stress, it might be nice to remind the kid that he’s writing an essay and that an essay needs a thesis and support. But in a rigorous classroom, to remind a kid about to write an essay that he needs a thesis and support is a little like reminding a kid about to take his road test that he’s supposed to try and not hit pedestrians or other vehicles.
I mean, it pretty much comes with the territory. The prompt specifically tells the kid to “write a coherent, well-written essay.” Try to write that “well-written essay” without a thesis and support?
Well, here’s your D. Next time you’ll remember. Prompt #2 is even worse, less rigorous. Assuming part of the prompt’s intent is to assess the kid’s knowledge of the novel, the statement, “Considering Namuv Kairkter’s story in ‘This is the Title of His Story’ is one possibility” pretty much tells the kid what to write about.
Don’t think about the book, kid, just repeat what we said in class about this particular chapter, and you’ll do fine. Prompt #3 is the worst of the bunch. “Analyze the protagonist’s belief that his life will be better if he can only retain his youthful appearance when, in fact, the degeneration of his soul and the confusion of his sense of right and wrong drive him deeper and deeper into a state of despair and anguish,” doesn’t leave the kid a whole lot of room to determine a central irony, formulate a thesis, and support that thesis with references to (or from) the novel. Of course, the prompt does continue, “Additionally, you may want to consider other instances of irony in the text,” just in case you know any. So there is some room here for the kid to actually think. But he doesn’t have to in order to get a decent grade for this essay.
Now before you start blubbering your protest (but, but, but, but), let me remind you that I have been the twelfth-grade teacher reading the last-essay-of-the-year papers and the final exams less than forty-eight hours before graduation. I have read “essay” after “essay” in which kids who should have known better just string along a series of sentences—maybe even not really sentences.
The “essays” have no discernable thesis, they refer neither to nor from the text, and they do choose unlikely or inappropriate aspects of the literature to discuss. They miss the point of the question.
After enough essays and enough years, the temptation to write the “foolproof” prompt is almost irresistible: Make sure you have a clear thesis. Don’t forget to indent your paragraphs, and to quote from the story whenever possible. Be certain to discuss both language and theme and to use the word foil at least once.
Use the correct name of at least one rhetorical device, and make certain you underline any words or phrases of foreign origin. Mention both the protagonist and antagonist After all, we want our kids to do well. But if I never take my hands off the back of my daughter’s bicycle, she’s not riding well.
Seriously, how many pairs of training wheels do you see in bicycle rallies and races? Yes, kids occasionally fall.
Yes, they occasionally fail. (See that kind of clever play on words?) And I am not advocating watching them fall and then simply walking away. I am not removing the teacher and the role of instruction from the equation. But I am reminding you that, if you want to “do rigor,” you have to change the kinds of questions you ask and how you ask them. You have to remove the training wheels and let go of the back of the bike.
Look at these prompts:. Study the following passage from chapter IV and write a coherent, well-written essay in which you argue whether or not Lord Lordly and his wife, Lady Lordly, articulate conventional attitudes toward gender roles in marriage. Do not merely summarize the passage. Arthur Sname’s novel not only presents a frank account of a soldier’s experiences in combat, it also highlights the difficulty of reconciling the life of the soldier with the life the civilian life left behind and eventually returned to. Write a well-organized essay in which you examine the anxiety the soldiers experience moving between their lives on the battlefield and their lives at home. Write a well-organized essay in which you explore the central irony of the novel. They might not be wordy enough to suit your taste—I myself have to admit that especially #3 seems to want some kind of introduction and conclusion—but they are far, far better than their originals because they at least do not do the kid’s work for him.
After all, if you have to remind the kid he needs a thesis, is he really “well-educated”? If you have to lay out the essay for the kid, then what are you assessing when you assign the essay in the first place? All in all, it’s not really all that difficult to “do rigor” in your classroom. Depending on the grade level you’re teaching and your school and district’s curriculum, it’s often simply a matter of changing your approach, broadening your assumptions, trusting your colleagues, and holding the kid responsible for his share of his education. Stop introducing everything every year. Don’t even waste your time on comprehension—except in those rare cases when comprehension might really be an issue.
And don’t do the kid’s work for him. That’s pretty much it. Want to read more? Check out and of this article. Which American fiction writer began his writing career while working as a pencil sharpener wholesaler in 1911?. Tybalt, in Shakespeare’s Romeo and Juliet is named after which anthropomorphic character?.
The word “girl” appears only once in what world-famous literary work?. Which children’s author wrote his first book in 1936 while crossing the Atlantic on a luxury liner?. What was the first book Amazon ever sold?
Last Week's Answers This little book was the first and most famous of a series of five that included The Chimes (1844), The Cricket on the Hearth (1845), The Battle of Life (1846), and The Haunted Man (1848). A Christmas Carol What book was the best-seller of the year in America in 1794? Benjamin Franklin's Autobiography, which had been published in England the year before-three years after his death. Which author entered the University of Montpellier to study for a doctorate in medicine, but was expelled because he had previously been an apothecary?
Nostradamus was expelled from Montpellier shortly after they discovered he had been an apothecary, a manual trade, which made him ineligible to study at the university. Who was the inspiration for the popular sixteenth-century nursery rhyme Little Miss Muffet?
Patience Muffet, the daughter of the poem's creator, Dr. Thomas Muffet, and entomologist who wrote about spiders more often than he did about his little girl. Which author stood trial in Mexico in 1951 for shooting his wife?
Burroughs stood trial in Mexico in the early 1950's for shooting his wife during a drunken party game. He spent 13 days and was charged with culpable homicide. By Douglas Grudzina A few weeks ago, Prestwick House had the privilege of hosting an “externship” in cooperation with the Delaware Business and Industry Education Alliance. On the final day, one of the points our teacher-extern made was that, for the past two decades, everyone has been clamoring about (re)introducing “rigor” to the curriculum and to routine teaching and testing practices. Both an experienced Advanced Placement and a relatively new International Baccalaureate teacher, our intern observed that many teachers simply do not know how to “do rigor.” The models of rigorous instruction are few and far between, and often what is labeled “rigorous” is actually the same, old stuff repackaged with a DVD instead of a filmstrip. At Prestwick House, we like to think that many of our materials do indeed model rigorous instruction and assessment, and we do support initiatives like the National Governors Association and Council of Chief State School Officers’ Common Core State Standards Initiative, which is all about rigor.
Soto honor our former extern’s request to help her colleagues know “how to do rigor,” here is the second of a three-part series. Part II: Enough with the comprehension questions already! In preparation for this blog post, I did a little homework (actually a very little homework). I went to the shelves about seven feet behind me and grabbed an anthology from one of Prestwick House’s competitors. It doesn’t really matter which anthology because as student and teacher (40+ years all told) I found all the “big book” anthologies to be pretty much the same. Maybe the literature included changed from edition to edition, but what they did with the literature never did.
Trust me, though, that the questions I am going to cite come from an anthology that is not the fifth-grade-level in its series, and it is not a remedial or introductory level in its series. One of the poems in the poetry section is Edgar Allan Poe’s “The Bells” (the one with all the onomatopoeia). The text of the poem ends on the right-hand side of the book (even numbered page), and the questions appear on the left (odd numbered page). The first section of questions, labeled “Recall”1 (and I’ll rant on that in a minute), include:. What do the bells in the first two stanzas foretell?. What bells are introduced in stanza 3?.
What bells does the speaker describe in stanza 4? (Do you see a possible trend developing here?) The second section is labeled “Analyze”2 and includes this:. Identify the different meanings bells have for the speaker. And the “Evaluate”3 section boasts this:. Decide whether or not there is a pattern to sentence and stanza length in the poem. Here are my rants, and then we’ll talk about how to do rigor.
If the question comes on the absolute next page after the poem (on the same two-page spread as the poem), we’re not asking the kid to “recall” anything. At best, we’re asking him to flip back a page or two and find the answer. Even if we asked the question in an appendix at the end of the book, is the ability to identify “silver bells,” “golden bells,” and “iron bells” the reason we’ve had kids read this poem? Do we really suspect that such identification was the motivation for Poe’s writing the poem? Even if we assume that we must ask a certain number of comprehension or “basic, surface understanding” questions (and I think this is a thoroughly anti-rigor assumption), will a march-through-the-chapter series of questions really do what such questions are supposed to do?
Othello Lesson Plans
A question that begins with the verb “identify” is probably ¬not an analysis question—and this one certainly is not. It’s comprehension. It translates into nothing more than, “Go back and paraphrase the word or words the poet uses to describe the feeling he gets from each kind of bell.” Or something like that. In a poem that is a huge, extended metaphor; in a poem ¬full of onomatopoeia and other sound effects; in a poem in which the shifting and deteriorating rhythmic pattern absolutely mirrors the poet’s deteriorating emotional state, this is the best attempt at “analysis” we can make? This is not an “evaluation” question. It might be an analysis question.
It is very close to a comprehension question. In this case, the kid doesn’t get to decide anything.
Poe already decided that there would be a “pattern to sentence and stanza length,” and he decided what it would be. All the kid needs to do is figure out what that pattern is, and then maybe evaluate the extent to which this pattern helps or hurts the poem (and why). The first thing you have to do if you want to “do rigor” in your classroom is change the kinds of questions you ask.
Everyone talks about Benjamin Bloom. If you’ve been teaching for any length of time, you probably can’t count the number of times you’ve sat through a workshop in which you were told about Bloom as if his first book or article only just came out last week, and memorizing a list of five or six verbs were really going to revolutionize education. (And among those verbs are indeed, “comprehend,” “analyze,” and “evaluate.”) Because this is a Prestwick House blog, and because I am a Prestwick House employee— but also because I am very proud of this product and would use it if I were still in the classroom —I’m going to insert this one bit of shameless marketing: Our new line of reproducibles, Levels of Understanding: Using Bloom’s Taxonomy to Explore Literature does a masterful job of working the kids through all levels of Bloom’s thinking skills hierarchy. And it doesn’t just throw around terms like “analyze” and then really ask the kids to only comprehend.
You should check it out. End of shameless promotion, we now return to our regularly-scheduled blog post. So the first thing you have to do is change the kinds of questions you ask. Why must the majority of every unit plan, every study guide, every whatever simply be a “march-through-the-chapter”? Unless I’m in the Cash Cab or playing Team Trivia at a local restaurant, it doesn’t matter whether I remember silver, gold, iron or whatever. In a poem like this, indeed in most literature (including nonfiction), there are more important things than checking to makes sure the kids know Hester’s hair color and whether the hump is on Chillingworth’s left or right side.
Comprehension is indeed on Bloom’s taxonomy, and it is true that you can’t really analyze the finer points of an argument if you don’t understand the argument but that does not open up every single trivial detail to scrutiny. In fact, I’d go so far as to say. There are only two suitable reasons for asking a comprehension question: 1. Is it a hard, complex, or complicated fact (something the kid might actually misunderstand)? Let’s face it; the kid’s not likely to mistake an iron bell for a platinum one. He’s not likely to confuse a wedding with a funeral.
Some facts, however, are potentially confusing: Linton (first name) is the son of Heathcliff (no last name) and Isabella Linton (last name). He is the nephew and heir of Edgar Linton (last name), Isabella’s brother. Catherine Linton is the daughter of Edgar Linton and Catherine Earnshaw.
She is, therefore, Linton (first name)’s cousin. In order to understand how Heathcliff ends up owning both Thrushcross Grange and Wuthering Heights, these family relationships are pretty essential, but since the names are so similar (i.e., identical), even a good and careful reader needs to pause and make sure he’s/she’s understanding the basic facts of the story. But to waste the kid’s time and mental energy reciting the names of the two houses, or how Heathcliff came to live at Wuthering Heights, etc., is uh a waste of time and mental energy. Some comprehension simply needs to be assumed, or we’ll never get any further up the scale. But there is another reasonable justification to work with the kid on the comprehension level: 2.
Is it important? Must the kid be especially aware of this fact in order to understand something deeper or something important that will happen later? This is what I call—feel free to use it, but do give me credit—“the gun in the desk drawer.” In the final pages of the book-story-play, the protagonist is trapped in the study with no hope of escape.
The antagonist breaks in the door and rushes toward the pro, who takes cover behind the desk. If the pro is going to reach into a desk drawer and pull out a gun with which to shoot the ant, that gun needs to be placed in that drawer in Chapter 2. (or Act I or some time earlier in the story.) Because you want the kid to be able to anticipate pro’s using the gun, because you want pro’s finding the gun to not be a deus ex machina, when your student reads the chapter or act or whatever in which the author establishes the presence of the gun, it is worth the time and mental energy to pause and point it out. Just to make sure. The flip side of this is, if the gun is in the drawer because the anti-gun pro took it from his/her son because the son was being careless, and if pro’s using the gun to shoot ant establishes the author’s pro-gun theme, it’s probably worth a minute to make sure the kid does note the gun in the drawer, even if it’s not an obscure or complicated story fact. And that’s it. Why else would you want to dwell on the surface What did she do?
What did he say? What color was the red jacket? And so on Comprehension is not all that hard. It’s ¬certainly not hard to peruse “The Bells” and find “silver = sleigh ride = merriment,” “gold = wedding = happiness,” “brass = alarm = fright,” and so on. Is that really what we want the kid to get out of this poem? So get rid of the comprehension questions already!
If you want to “do rigor,” then when the kid reports to class, you have to hit the ground running how do the synesthesic adjectives contribute to the overall feeling of the poem (crystalline delight)? What’s happens to the established rhythm pattern as we proceed through sections III and IV? How do tone and mood mimic meaning?
That’s the good stuff. That’s rigor.
PS It also helps if you’re honest with your kids about what you’re asking them to do. One of my big gripes with the anthology (and it is a real, honest-to-goodness anthology used in many a high school classroom) is that it misidentifies a comprehension question as “analysis,” and it calls something “evaluation” which is not the least bit evaluative. It happens a lot in this particular book. It’s pretty much the opposite of rigor. Want to read more? Check out and of this article. Join in celebrating Hispanic Heritage Month, which begins each year on September 15 — the anniversary of independence for the Latin countries of Costa Rica, El Salvador, Guatemala, Honduras, and Nicaragua.
Share with your students the rich culture of a variety of Hispanic nations by sharing new stories and authors. Check out sites like for a list of influential Hispanic authors, the Educator Page at, and a wide variety of multicultural books and teaching materials available. When I Was Puerto Rican Esmeralda Santiago A universal coming-of-age story, this autobiographical memoir tells of Santiago's childhood in Puerto Rico and subsequent move to America. Her process of acclimating to a new culture and language — all while undergoing adolescence — is an experience your students will find both compelling and resonant. Esperanza Rising Pam Munoz Ryan Believable, insightful, and sincere, the emotional quality of this “riches to rags” story will captivate you and your students.
When tragedy strikes Esperanza’s wealthy and respected family, they must start anew, working hard and struggling to make a living. Winner of the Pura Belpre Award and Publisher’s Weekly’s Best Book of the Year. How the Garcia Girls Lost Their Accents Julia Alvarez Yolanda's father is a wealthy man who provides his family with a comfortable lifestyle until the political situation in the Dominican Republic forces them to flee to the safety of New York City. Yolanda and her three sisters must adjust to a new culture and a reduction in their lifestyle.
The sisters, torn between two cultures, struggle to establish their self-identities in their new home. The House on Mango Street Sandra Cisneros This modern classic, rich in Latino heritage, tells the story of Esperanza, a young Hispanic girl living in the Latino section of Chicago.
Using poems and stories that lend themselves to classroom use, Esperanza gives insight into the modern Hispanic-American experience. B less Me, Ultima Rudolfo Anaya For those seeking ethnic diversity in their literature curriculum, Rudolfo Anaya's Bless Me, Ultima, a classic of Chicano literature, is a superior choice. While Anaya's novel explores many universal themes, including the struggle of good over evil, it is, essentially, a tale of the loss of innocence. Other Great Multicultural Reads Available. Recently, we received feedback on our new series from teachers on the Prestwick House National Curriculum Advisory Board.
Read quotations from teachers below The words are defined, organized, used in context with multiple practices, and even gives the opportunity to practice new roots and prefixes. I also find the practice English sentences to be incredibly useful. All students, whether taking the ACT or not, need to improve vocabulary skills. They also need to be able to read for errors. Learning root words and prefixes is an easy and organized way of improving vocabulary skills as well. This product does meet a demand! Geldart There is an increased emphasis on vocabulary in state and national standards.
This guide will not only prepare students for the ACT, but will also increase their comprehension in all disciplines. Sara Zeek Perhaps one of the hardest things to help students with is giving them a depth of vocabulary that will aid them not only on the ACT but also in college.
This is a helpful approach with extremely accessible exericses. Janice Mullan A well-educated student must have an extensive vocabulary that is often not well-developed without formal vocabulary study. The ability to read and comprehend what is read is important both to success in the classroom and success in life.The variety of exercises included ensure that students do not simply memorize a word for a test and then forget it. They get a sense of when and how to use the word which makes it more likely that they will remember and use newly acquired vocabulary. I am impressed with the variety of exercises for each lesson and the use of review lessons to aid retention.
These review lessons introduce additional exercises such as crosswords. While primarily designed for the ACT, the vocabulary and exercises reflect the vocabulary and skills required to be successful on other standardized tests.
Cynthia Byers The materials covered in the book will not only improve the student's vocabulary, but also in Revising and Editing. This will undoubtedly serve them well when writing essays/preparing for higher level courses. Luis Garza Good organization; well-aligned with what the ACT expects students to know and be able to do (writing and critical reading especially, as there are fewer materials available that focus on these along with vocabulary instruction); periodic reviews after each set of seven chapters; rubrics for evaluating writing; state standards listed (an excellent item to include!) Sharon King-Hanley The format is easy for students to access and use. I like the presentation - word, definition, part of speech, use in a sentence, synonyms, antonyms, words in context. All material students need to know when learning a new word.
I like the periodic review of words with sentence completions and a puzzle. Different formats for learning. Cherylin J Roeser. September 1, 2011, Smyrna, DE — This week, Prestwick House will introduce its first vocabulary series tailored to the needs of ACT students, Vocabulary Power Plus for the ACT. Based on the same techniques used in Prestwick House’s best-selling Vocabulary Power Plus for the New SAT vocabulary series with over 700,000 copies sold since 2004, Vocabulary Power Plus for the ACT is now available for students in grades 9-12.
“This series is based on both NCTE/IRA scientific research and the ACT itself,” says author, Daniel Reed. “Because of this, teachers will be able to give their students quality ACT test prep while simultaneously adhering to best practices in teaching vocabulary.” “With the number of vocabulary words students are expected to learn, and the limited amount of time available to teachers in the classroom, it makes sense to create a program that can maximize both student ACT scores and word retention.” While the ACT exam has been taken by students across all fifty states since 1960, ACT.org reports that the number of students taking the test has grown significantly in the past ten years. In 2010, 27 states reported over 50% of the student population as test-takers.
“With the increased number of students preparing for the ACT test and a lack of ACT-specific vocabulary products on the market, we wanted to make sure that teachers had what they need to help their students excel,” says Prestwick House Brand Manager, Jerry Clark. “Vocabulary Power Plus for the ACT covers not only vocabulary, but also reading, writing, and grammar in a logically structured format. While skills learned through Vocabulary Power Plus for the ACT are universally useful, the series is specifically tailored for use as preparation for the ACT — something that we think teachers of ACT test-takers will find extremely useful.” In addition to teaching vocabulary, this series provide students with practice on ACT-style questions and provides effective writing strategies that will prepare them for the ACT writing component.
“We provide ACT-style questions so that exam takers will be familiar with the structure of the language portion of the ACT on the morning they take it. The series helps test takers develop the cautious aggression necessary to succeed on any assessment test, whether ACT or SAT,” explains Reed. “The ACT writing test is about getting your idea on paper in a short amount of time—not editing or proofreading or rewriting, because there’s very little time (30 minutes) for revision.
Developing a rapid writing strategy for use with any topic is essential.” Along with student workbooks, a teacher’s edition, and multiple versions of test packages, the Vocabulary Power Plus for the New ACT series contains helpful Introduction Presentations and Practice Presentations. Introduction Presentations familiarize students with words at the beginning of each unit and help them grasp shades of meaning by using words in an authentic context. Practice Presentations ensure that students have a firm understanding of new words provides the practice they need to retain them. Currently, Prestwick House is looking for school partners to test the effectiveness of Vocabulary Power Plus for the ACT on students’ ACT scores. If you are interested in partnering with Prestwick House to try out this new program in exchange for free vocabulary materials, please contact Keith Bergstrom at keith@prestwickhouse.com or (302)-659-2070 x131. To learn more about Vocabulary Power Plus for the ACT, call (800)-932-4593 or visit www.PrestwickHouse.com.
Join Now to View Premium Content GradeSaver provides access to 979 study guide PDFs and quizzes, 7770 literature essays, 2178 sample college application essays, 323 lesson plans, and ad-free surfing in this premium content, “Members Only” section of the site! Membership includes a 10% discount on all editing orders. Othello: Day 1: Crossword Puzzle Day 1 Othello Lesson Plan Crossword Puzzle Join Now to View Premium Content GradeSaver provides access to 979 study guide PDFs and quizzes, 7770 literature essays, 2178 sample college application essays, 323 lesson plans, and ad-free surfing in this premium content, “Members Only” section of the site! Membership includes a 10% discount on all editing orders. Already a member?