Something You Should Know Poem? Trust The Answer

come in child

rest

it’s okay to want to be held

Let’s not all try to be

some kind of sanctuary for someone?

because every year we are not destroyed

don’t you remind us what a miracle

it should have taken that long?

amidst this looting

in the midst of all this rubble

Breathe in and call it prayer

Take a step and call life

What is the ocean telling you, child?

that they are afraid of you?

they fear you because they are not

ready for your kind of saint

close your eyes

those stained glass shadows

All we have is what we call ourselves

otherwise I’m just a room

you are only body

& we know how wrong that is

“Creates a striking and deeply moving human cartography of America’s historical conscience…an extraordinary contribution to our self-understanding.” – Book Review The New York Times

“The most visionary non-fiction book of the summer” – Esquire

“[A] history of slavery in this country like you’ve never read before.” -Entertainment Weekly

“A work of moral strength and humility” – Matthew Desmond

“The detail and depth of the storytelling is vivid and visceral, making the story present and real…Smith deftly blends the past, which lurks in plain sight, with the aftermath of today.” -NPR

“[A] rather provocative read” – book page

“Both a tribute and an exposé of the legacy of slavery in America” ​​- The Root

American poet and teacher

Clinton Smith III (born August 25, 1988) is an American writer, poet, and scholar. He is the author of Counting Descent, a 2017 anthology of poetry that was a finalist for the NAACP Image Awards and was named Best Book of Poetry by the American Library Association’s Black Caucus.

Smith received his PhD from the Harvard Graduate School of Education.[1] He was a regular contributor to the Save the People podcast, where he discussed the week’s news with a group of other activists.[2]

His latest book How the Word Is Passed topped the New York Times bestseller list in June 2021.

Early life[edit]

Smith was raised Catholic in New Orleans, where he attended Benjamin Franklin High School for his first three years of high school and later attended Awty International School in Houston, Texas for his senior year because he and his family moved out because of the hurricane New Orleans fled Katrina.[3][4] He attended Davidson College and graduated in 2010 with a B.A. in English.[5][6]

Career [edit]

He taught high school English in Prince George’s County, Maryland, where he was named Christine D. Sarbanes Teacher of the Year by the Maryland Humanities Council.[7] He then earned his PhD from Harvard Graduate School of Education with a focus on culture, institutions, and society, earning his PhD in 2020 with his dissertation on race, mass incarceration, and education.[8]

He was a member of the winning team at the 2014 National Poetry Slam[9] and received The American Poetry Review’s Jerome J. Shestack Prize in 2017.[10] In 2016 he published his first book of poetry, Counting Descent.[11] It won the 2017 American Library Association Black Caucus Literary Award for Best Book of Poetry[12] and was a finalist for the NAACP Image Awards.[13] He was on the Forbes 30 Under 30 list in 2018[14] and on Ebony’s Power 100 list in 2017.[15]

Smith has also contributed to The New Yorker magazine.[16] His work is included in the anthology The Fire This Time: A New Generation Speaks about Race (2016), edited by Jesmyn Ward.[17] Little, Brown published Smith’s second book How the Word Is Passed on June 1, 2021.[18] It was selected for the New York Times Book Review’s “10 Best Books of 2021” list.[19]

He is a staff writer at The Atlantic.[20] As of 2021, he is the host of Crash Course’s Black American History series.[21]

A fan of Arsenal F.C. A football (soccer) club and a former collegiate football player, Smith has written several New York City essays on the sport.

Personal life[edit]

Smith resides in Maryland with his wife and two children.[1]

“So many of these poems just blow my mind. Incredibly beautiful and powerful.”

– Michelle Alexander, author of The New Jim Crow

“Clint Smith weaves stories, from the collective to the personal, to create indelible archetypes of the places that made us all. Shimmering with revealing intensity, these poems approach us from all sides to plunge us into the America that America so often forgets. The movement of Smith’s vision delivers a sudden awareness: in the hands of this poet, like Rilke, we feel that there is none There’s a place that doesn’t see you.

— Gregory Pardlo, author of Digest

Counting Descent is a tight-knit collection of poems, the pages of which seem like an invitation. The invitation is intimate and generous, and also challenging; Do you want to ask what blackness is? What is black joy? How is black life loved and lived? Who do we look to for answers? This invitation is not to a narrow street or a shallow lake, but to an expansive exploration of life. And you’re invited.

—Elizabeth Acevedo, author of Beastgirl & Other Origin Myths

Counting Descent is beyond brilliant. More than lyrical. More than bluesy. More than brave. It’s terrifying in its ability to not hide and immediately showing readers why it wants to hide so badly. These poems repair, fuse and introduce themselves, with weighted detail, pauses, idiosyncrasies and word patterns I’ve never seen before.

– Kiese Laymon, author of Long Division

About “What Remains”

I’ve always made a point of writing across genres. So many of the literary characters I have long admired refused to place themselves within a unique writing style. They were poets, they were playwrights, they were essayists, they were novelists. This literary dexterity enriched her work and often resulted in an interdisciplinary, creative output that was not easily divided. I firmly believe in the value of working across genres and mediums and think it creates a more robust literary landscape, both in the world and within ourselves.

In my other life, I’m a scholar of incarceration committed to using empiricism to reframe how we think about punishment—to move toward a world where prisons aren’t our default setting for discipline and control. When I write something, for example about the death penalty, I think about an argument, anticipate a counter-argument, and then respond to that counter-argument to defend my thesis. I find this work deeply fulfilling, bringing work, social sciences and stories together to advocate for more humane and empathetic social institutions. Still, there is something unique about the space provided by a poem – it doesn’t require you to have the answers, but simply allows you to wrestle with the questions. And having that freedom is critical, I think, because there are far more things we don’t know the answers to than things we do. Sometimes we don’t know the answer because there isn’t one, sometimes we don’t know the answer because we’re afraid to ask the real questions.

In 2005, Hurricane Katrina devastated New Orleans. It was my senior year of high school, and when the storm had passed and the tide of the lake that was piercing the levees had settled, our house was under eight feet of water. Weeks later, when the waters finally receded, our house was a rotting skeleton of itself. I was incredibly fortunate to have an aunt and uncle in Houston who could take care of me and my siblings when our parents were trying to get a semblance of to reconstruct life for us at home. No event has had such an impact on my life, and yet I have rarely spoken about it for so many years. I had no language for losses. I didn’t have the nomenclature for distress yet. So I suppressed it. I took Nyquil to help me fall asleep at night amid insomnia catalyzed by disillusionment and insecurity. I said “I’m fine” more times than I can remember, despite well-intentioned nudges from loving adults around me. Looking back, I partially understand now that I was so busy trying to find answers to remove the grief that I didn’t give myself the space to deal with the grief alone.

In my poem what is left I try to ask the questions for which I didn’t give myself this space twelve years ago. The book Counting Descent is a meditation on ancestry in many ways, albeit not only through family but also through experience. We now have solid social science describing how trauma is passed from generation to generation. So when I wrestle with genealogy, I wrestle not only with the genetically inherited physical or personality traits, but also with the way the remnants of certain experiences are passed on. In a world where trauma and grief are inevitable, exploring how to deal with the pain you already have can be more helpful than trying to make it obsolete.

I had never written a poem like this before, and I am grateful for colleagues who have reminded me that this is important even at a moment of deep political urgency – one that often keeps us from thinking because we are so committed to action have – it’s important to step back, stop and ask these kinds of questions. This is the only way we can find out what to look for.

“[We call for] a total and complete ban on Muslims entering the United States.”

—Trump’s administration team, December 7, 2015

They sent us to the protection camps

& we have forgotten our other countries.

like good school children we sang

the anthem loud, so loud

until we couldn’t hear any more.

don’t delight the birds

about their young or the growling of the dogs

at our feet, or him on the news

hourly, growls. that’s the cost

to look the other way

when they get us:

I build security in you

& wake up in handcuffs.

I’m all mouth. every morning

I whisper my country my country my country

& my hands remain empty.

What is country as country? a camp

but a camp? refuge

but another grave? i am an architect

I allow everything

into something new.

I build & build

& someone takes it away.

“A moving and insightful survey of landmarks that reckon, or don’t reckon, with America’s legacy of slavery…this is an essential consideration of how America’s past influences its present.” – Publishers Weekly (starred review)

“[A] harrowing portrait with unforgettable detail…a brilliant, vital work about ‘a crime still unfolding’.” “Kirkus Reviews (starred review)

“[A] powerful and careful exploration of the realities and enduring consequences of slavery in America.” – Book List (asterisked review)

“Clint Smith’s gifts as both a poet and a scholar make How the Word Is Passed a deeply provocative read about places where the history of American slavery lives on… [it] manages to make the essential distinction between history and nostalgia. ‘ – book page (starred review)

“Poet and journalist Clint Smith’s debut explores the legacy of slavery in modern America… and brings to light the past with lyrical mastery.” — Buzzfeed

“Smith exposes and makes for his readers the deeply disturbing truths about what transpired in these places, about the systemic and strategic violence and abuse that made the society in which we now live possible possible… The book isn’t just news from the past; It attempts to convey the urgency of this message in our troubled present.” – Harpers

“Smith tells his stories with the soul of a poet and the heart of an educator. Smith’s ambitious book is fueled by a humble sense of duty: he sought the wisdom of those who tell of the legacy of slavery “outside traditional classrooms and beyond the pages of textbooks”; public historians who “have dedicated their lives to the task of sharing this story with others.” Smith channels the spirit of Toni Morrison here; the writer as one who passes on the word lest it be forgotten.” – The Millions

“Smith is forcing us to reconsider what we think we know about American history.” – Time

“Creates a striking and deeply moving human cartography of America’s historical conscience…an extraordinary contribution to our self-understanding.” Julian Lucas, Book Review, The New York Times

“Part of what makes this book so brilliant is its ambiguity. It is both a research historical work and a journalistic account of how these historical sites function today. It is both carefully researched and lyrical. I mean Smith is a poet and the phrases in this book are just hauntingly alive. And it’s both intensely personal – it’s the author’s story – and extraordinarily comprehensive. It amplifies many other voices. Past and present. Reading it kept reminding me of the great Alice Walker line ‘All History is Current’.” – Johannes Grün

“Summer’s most visionary non-fiction is this radical reckoning with slavery as portrayed in the nation’s monuments, plantations and landmarks.” — Adrienne Westenfeld, Esquire

“What [Smith] is doing quite successfully is showing that we whitewash our story at our own risk. This story is literally still here, taking up a lot of space, reminding us of the past and teaching us how we came to be where we are and who we are. Bury it now and it will call you later.” —USA Today

“Both a tribute and an exposé of the legacy of slavery in America and how that nation is built on the experiences, blood, sweat and tears of the formerly enslaved.” -The root

“The detail and depth of the storytelling is vivid and visceral, making the story present and real. Equally commendable is the care and compassion shown to these Smith interviews – whether tour guides or fellow visitors in these many rooms. Because of his diligence as an interviewer, the responses Smith evokes are resonant and powerful…Smith deftly blends the past, hidden in plain sight, with the aftermath of today.” —Hope Wabuke, NPR

“Smith understands very well that the narrative formation that gives slavery its legacy and power occurs every day. From tour guides and curators and teachers. From the former inmates. From those repositories of knowledge that are seldom seen for what they really are: the historians of society at the forefront… suspenseful and compelling.” — Kamil Ahsan, Boston Globe

“James Baldwin wrote that history is ‘present in literally everything we do’; Smith’s book illuminates this reality for slavery in America, questions the lies we tell ourselves, and helps us see clearly so we can find a new path to justice.” — Plowshares

“Inspired by the destruction of Confederate monuments in his hometown of New Orleans, a poet sets out and plans a journey that meanders back in time, from Monticello to New York City to the infamous Angola Prison in Louisiana, and drills deep into the bedrock of our racist.” – Oprah Daily

“A powerful, timely book, one that we should all read over and over again and mark the pages as we do.” — Female

“Stop after stop, Smith weaves a tapestry of willful ignorance before pointing the way to improvement.” — Stuart Miller, Los Angeles Times

“This is a bold and important book that needed to be written and will be read.” – David Takami, Seattle Times

“Smith exposes and makes for his readers the deeply disturbing truths about what happened in these places, about the systemic and strategic violence and abuse that the society we now live in has made possible… The book doesn’t just bring news from the past ; It attempts to convey the urgency of this message in our troubled present.” — Claire Messud, Harper’s

“In this superbly researched and fascinating book, Smith examines diverse locations across the United States (both northern and southern) and Dakar, Senegal to uncover forgotten or suppressed stories that show how long we must face our past, for a freer and fairer society.” – New York Observer

“This book is a beautiful, poignant journey through some of the darkest and most complicated parts of American history that will lead readers to consider the truth about the sins of our past that are still very much alive in the present.” – Das daily beast

“Clint Smith’s How the Word is Passed is a book for this moment. Every high school graduate in the country should have a copy of How the Word is Passed, which is both a thoroughly researched history of American slavery and a very timely look at the grim legacy of its many atrocities (and how they are being brought to mind for all to see ). , the better to understand that ‘yes, that’s us’.” — Illuminated Hub

“In vivid and meditative prose, Clint Smith chronicles his travels to historic sites that tell the truth or mislead visitors about slavery. People enslaved blacks and then too often history. But How the Word Is Passed frees history, frees humanity to reckon honestly with the legacy of slavery. We need this book.” “Ibram X. Kendi, National Book Award-winning author of Stamped from the Beginning

“In this stunning book, Clint Smith takes the reader on a necessary journey. Like the finest tour guides he meets, he tells us the truth with conviction and compassion, and has much to teach, both about the history of slavery across America and how to pass the word on.” “W. Caleb McDaniel , Pulitzer Prize-winning author of Sweet Taste of Liberty

“A work of moral strength and humility, How the Word is Passed offers a compelling account of the history and memory of slavery in America. Writing from Confederate Army cemeteries, former plantations, modern prisons and other historic sites, Clint Smith moves seamlessly between past and present, revealing how slavery is remembered and misremembered – and why it matters. Exciting and wise, this book combines history and reportage, poetry and memoirs. It’s a deep lesson and a reckoning.” — Matthew Desmond, Pulitzer Prize winner and author of Evicted

“A beautifully written, powerful, and timely meditation on how slavery is thought of in the United States.” “Annette Gordon-Reed, Pulitzer Prize-winning author of The Hemingses of Monticello

“Clint Smith has given us a new lens to see the spaces we inhabit, the stories they tell, and the people telling those stories. How the Word is Passed sheds light on the contested narratives beneath the surface of our collective national identity, invites us to dig a little deeper, and reminds us never to take passed stories for granted.” – Eve L. Ewing, author from 1919 and Ghosts in the schoolyard

“There is perhaps no greater challenge than convincing a nation to remember what it would rather forget. Clint Smith, one of our most thoughtful writers and thinkers, adeptly documents how echoes of enslavement linger everywhere… How the Word Is Passed is an important, much-needed contribution to that reckoning.” — Wesley Lowery, Pulitzer Prize-winner and author of They Can’ t Kill Us All

Have you ever imagined losing your rights and freedom? During slavery, slaves had no privileges. Slaves were unable to speak their minds, participate in their government, or any other freedoms. Over time, slaves gained their rights and began fighting to end segregation. Slaves were not respected and in order to gain their rights they had to protest for peace. In the poems Protest and There is a Lake Here they portray how we as humans believe in independence and freedom and are proud of the rights we have today.

In the poem Protest, Ella Wheeler Wilcox describes what protest means and looks like. She explains what bravery looks like and how very brave it takes people to stand up for what they believe in

Smith describes children having fun in a big lake and advocates the idea of ​​freedom. He emphasizes that because you have freedom, you have the right to go out and have fun and do whatever you want. The children can roam freely throughout the lake without signs of drowning. They have fun as a group and never once worry about the dangers of what might happen: “Twisting around each other and never letting go. And no, the lake is not a place for men to drown” (Smith 7). The author points out that they are all a group and none of the children will ever break apart or drown. This shows how because they have freedom they are connected as a group and not worried about the dangers of the lake like drowning, they just focus on having fun with each other. This ties back in with the poem Protest as it describes the idea of ​​freedom in both poems. Protest shows how people had to fight for their freedom and their rights, and the poem Here is a Lake represents the idea of ​​a big lake that is open to people and lets people go and have a good time in the lake because they are free are. I also believe that the poem Here is a Lake shows how the lake represents a person because the author uses “his outstretched arms” to reveal how the lake is willing to accept anyone as a human will would. The lake takes in people to have fun without getting hurt in the lake. This shows how the lake expresses its emotions by making people enjoy it. It also shows how the lake can represent a person by opening its arms and embracing everyone. This shows that they don’t mind the water and are just having fun in the lake because the lake is a fun place to play freely and enjoy your time with everyone

When Maze and Frankie Beverly come on in My House Mama’s eyes close, she raises the spatula as if to orchestrate the gumbo. Turn the control so that we can feel the bass thundering in the walls. At the beginning of the first verse, she points to Pops, walks over, her shoulders swinging between the melody. Pops does the same dance he’s been doing since ’73 — left knee, right knee, pop, snap, left knee, right knee, pop, snap every other beat. The kind of dance that has a different iteration every decade but has basically always been the same. At the start of verse two, Pops drops his shoulder, bites his bottom lip, and makes a sort of twisting motion, spinning on his left foot. When he does so, it’s unclear if he injured his back or if he’s using an unauthorized version of the sprinkler. Mom joins in because she flies like that and has never let dad down on the dance floor. At the beginning of verse three, something is on fire in the kitchen. Their hands are now interlaced, fingers interlocked, swinging each other back and forth. Her feet are now her own music, the interplay between hollow wooden floors & electric guitar. It’s like they made the song just for her. A reminder of love’s playful manifestations, how the harmony of guitar & trumpet & bass & sweat & Frankie’s voice can create the kind of lightness that ensures love lasts long after the song has ended. Letter from Barack Obama to Karl Marx circa 2011 Come on, don’t look at me Karl. I know you are disappointed. But to be fair, you made it pretty tough out here. Sure I read the Communist Manifesto in college, but don’t we all? You hurl your name at me at every rally, every speech. Suppose I try to take away their religion, their money, their freedom. Right? I laughed at the latter too. As if they knew the first thing about it, which means your liberation is being thwarted, your agency is becoming obsolete. They always say you never really know until you sit in the chair yourself. The Oval Office’s dialectic opposition is an ever-present reality to me. But what do you expect?! I can’t hang your picture on the wall or put a bust of your face on the desk. Who would you replace? dr King? I don’t like that this is the space I’m occupying, that there’s no room for counter-hegemonic conceits. Everything just keeps turning, Karl doesn’t care whose hands are on the wheel. Ode to 9th & E NW – Washington D.C. You hundred year old bastion of serenity You crumbling icon You hollow walls & sacrosanct floors Your kitchen where rice was burned & whiskey spilled You miraculous accident You ephemeral cacophony You crumbling slice of adulthood you taste for the first time of adulthood You got the laugh made ubiquitous you wrapped seven of us in your walls locked the door and swallowed the key you roommate shuffleboard you millennial experiment you eye of the gentrified storm you’re still trying to be Duke Ellington in a world full of yoga studios three years in your understand & we watched them turn the Boys & Girls Club into happy hour. It’s about you sitting on the corner, at the crossroads, where I learned to tell someone that they made me feel like everything and nothing at the same time. How you made growing up existential How one can be lulled into nostalgia by the noise of a daring love. Share this: Twitter

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Hello everybody!! This article will share questions and answers about everyday things.

This poem was written by Jean Ayer. In my previous posts I shared Tess Buys A Miracle, Snake Trouble and Black Beauty Q&A so you can check those posts too.

Questions and answers about everyday things

word galaxy

Millionaires – rich

profuse gagging – cough

Cough Magazine – Comic

Comic stocks – goods

Were done – happened

occur Weary – tired

tired sick – unwell

Question 1: How are presidents, kings and millionaires different from ordinary people?

Answer: Presidents, kings and millionaires are richer than ordinary people. In addition, they have no free time for themselves.

Question 2: What do we do with a newspaper, magazine or book? Is it everyday things?

Answer: We read a newspaper, a magazine or a book. Yes, these are everyday things.

Question 3: What do we eat and drink every day?

Answer: Bread, fish, meat and vegetables are the things we eat while milk, coffee and tea are the everyday things we drink.

Question 4: In the first six lines of the poem, what are the three everyday things?

Answer: The three everyday things mentioned in the first six lines of the poem are a comb, water and soap.

Questions and answers about everyday things

Question 5: What items of clothing were mentioned in the poem?

Answer: The items of clothing mentioned in the poem are undergarments, outerwear, and stockings.

Question 6: What do millionaires, presidents, kings and common people have in common?

Answer: There are certain similarities between millionaires, presidents, kings and common people like bathing, combing your hair, eating.

Question 7: Choose the right option:

(a) According to the spokesman, millionaires, presidents and even kings cannot do without……..

I. Mineral water

ii. everyday

(b) According to the speaker, what do you use to sign a letter?

I. sketch pen

ii. pen and ink

(c) The two things everyone uses to stay clean are …………

I. soap and water

ii. pen and ink

(d) With the words “reminder note” the poet refers to …..

I. a letter

ii. a note so you don’t forget anything

(e) A word in the poem meaning “tired” is…..

I. weary

ii. Sick

(f) By “You could not sign a letter… pen and ink,” the poet means that…

I. a letter must not be signed

ii. It takes pen and ink to sign a letter.

Question 8: What do you use when you have a cold?

Answer: We will use a handkerchief when we catch a cold.

Questions and answers about everyday things

Question 9: According to the speaker, what could you drink for breakfast?

Answer: According to the speaker, we could possibly drink milk, chocolate, coffee or tea for breakfast.

Question 10: According to the narrator, where would you rest your tired head?

Answer: According to the narrator, we want to put our tired heads to bed.

Question 11: Write a couple of rhyming word pairs from the poem.

Answer: Kings – Things, Note – Coat, Hope – Soap, Think – Ink, Eat – Meat and Look – book.

Question 12: What is the main message of the poem?

Answer: The poem “Everyday Things” tells about the importance of the things that we absolutely need in our daily life. The poet says that even kings cannot live without everyday things, which are also used by the common man.

So these were questions and answers about everyday things.

It can be done

The man who misses all the fun

Is the one who says: “It doesn’t work.”

He stands aside in solemn pride

And greets every risk with blame.

If he had the power he would wipe out

The history of mankind;

We wouldn’t have radios or cars

No streets lit by electric stars;

No telegraph nor telephone

We would dwell in the Age of Stones.

The world would be asleep when things were going

From men who say: “That doesn’t work.”

-Anonymous

Meaning of difficult words:

In solemn pride: Here it means “looking very serious, grand and important”.

aloof : separate without engaging in anything

Venture : adventure, a dangerous or risky task

Blame: Criticism, negative comments

erase : erase, remove

stay: stay behind

Central idea of ​​the poem:

Think positive and follow your dreams.

Summary:

The poet begins the poem by telling us about the man you always say about, “You can’t do that.” This person misses all the fun because they don’t want to try anything and therefore can’t enjoy the feeling of trying new things or being innovative and finding new ways to do things.

Such a person will stand apart with a proud sense of knowing everything. And he will greet any tasks and projects with suspicion and negative comments.

And if he had the power, he would remove all evidence of human invention, i.e. H. everything that man invented from his first invention of fire onwards.

Then we would have no radio and no car, and our streets would have no lights. We would all be in the dark.

There would be no telegraph or telephone. And we would still be living in the “Stone Age”.

If this world were ruled by humans, they say, “It can’t be done.” Then this world would be a boring place and all humans would not be willing to do anything and they would waste their time doing nothing.

Write the rhyming words from the poem It is doable

to made fun; restrained-rebuke; extinction race; cars stars; telephone stone; finished

HINTS

1. Answer each of the following questions in one sentence.

(a) Who misses all the fun?

to The man who says “I can’t do that” is missing out on all the fun.

(b) What does the title of the poem say?

to The title of the poem “It’s doable” gives us a very positive and motivating message to always tell ourselves it can be done.

(c) What does the man who misses all the fun do?

to The man who misses all the fun stands aside with solemn pride and greets every venture with reproach.

(d) Why does he “miss all the fun”?

to He misses all the fun because he’s standing alone without engaging with others. He also misses the fun and joy you get from working on new projects and inventions. He’s not able to enjoy the sense of accomplishment that comes when we’re successful.

(e) What would he do if he had the power to do so?

to If he had the power to do so, he would wipe out all inventions that humans have made.

(f) What examples of human progress are given in the poem?

to The inventions of the radio, the automobile, the electric light, the telegraph, and the telephone are mentioned in the poem.

(g) What should people do to make progress?

to In order to make progress, people should keep inventing and innovating.

2. Form groups. Name some everyday items. Discuss how they can be improved.

to

Cars: Cars that run on solar energy at the same time can move on land, sea and in the air.

Doorbell: The doorbell should have a hidden camera and be able to scan the person’s data and send it to the people inside.

Cell Phones: With the help of fingerprint or face scan, cell phones are said to be able to suggest a person’s full medical report as well as medications and remedies.

Windows and Doors: Should have built-in air conditioning and heating

while filtering out dirt and dust.

3. Make pairs. Discuss and make a list of things that can and will be done in the future. (5 things) Find the modal verbs in your answer.

(See page 37.)

1) Glass capsule that will transport people anywhere in the world within seconds. (modal verb – become)

2) Our houses, which can be transformed into any place we want to visit. e.g. We might be able to enjoy an underwater ride just by being at our home. (modal verb – can)

3) A device that scans a person’s body and creates a nutrition plan, i. H. what that person should eat to maintain their health. (modal verb – become)

4) A closet or small space that massages a person’s body in a way that makes the person feel fit and energetic. (modal verb – become)

5) A machine that prepares any dish you want. (modal verb – become)

4. Complete the following sentences with your ideas:

(a) I can …………………….

(b) You may …………………….

(c) We can …………………..

to

(a) I can be successful in anything I do.

(b) You can help the poor by giving them food.

(c) We can plan our picnic tomorrow.

A project: wheels

1. Think carefully for a minute. Boost your memory and remember all things/objects you saw wheels on. Write them down.

to Vehicles, carts, trolleys, wheel construction, wheelchairs, gears in machines

2. Now talk to your friends or elders; Consult books and read about all items that use wheels. List them. (How many did you miss in your first list? Why?)

to The students should solve this themselves.

3. The wheel, which was probably invented more than 6000 years ago, is considered one of the greatest technical achievements of mankind. Why do you think the wheel is so important in human civilization?

to Yes I agree that wheels are one of the greatest inventions as we find wheels in everything from the thinnest of toys to the largest airplanes. Without the invention of the wheel, human progress would have been impossible.

4. Can you imagine life without wheels? Try to imagine what life would be like if there were no wheels.

to If there were no wheels, man would probably still live in the jungles and forests. We would have to travel on foot, there would be no machines and life would be very slow and boring.

5. Have you seen wheels move on different surfaces such as sand, gravel, grass or a real road? What differences do you see?

to There are different types of wheels used on different surfaces. The main difference is the grooves on the levels that help the wheels move smoothly on the surface they were made for.

6. What are the games/game activities, entertainment using a wheel?

to weightlifting, roller skating, etc

7. Write about the different wheel-like objects you see at home, at school, and on the street.

At home: center table, toy cars, study chair, etc.

At school: computer desks and chairs in the computer room, wheel building

On the street: vehicles, handcarts, trolleys, etc.

Hi,

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➡️ BOOK A FREE ENGLISH COURSE by clicking on the link below:

https://book.mastree.com/english-art-book/?Referral=Jac9441

Your child could have world-class communication skills. 🗣️ So what are you waiting for?

Request your spot TODAY! ✅

Regards,

JK Academy