9789147121076

BLUEPRINT

Den omtyckta BLUEPRINT är uppgraderad: två autentiska hörövningar i varje kapitel, nya exempeltexter för kursplanens texttyper, utbyggda ordövningar och kommentarer i gloslistor. Också de användbara Blue Pages är uppdaterade. VERSION 3.0 startar med ett introduktionskapitel där eleverna introduceras till det globala världsspråket engelska och fortsätter med texter och teman som berör och engagerar.

BLUEPRINT B 3.0 är ett läromedel som tar eleverna på samma allvar som förut och metodiskt utvecklar deras engelska.

B

BLUEPRINT B VERSION 3.0 består av

BLUEPRINT B ENGLISH 6

■ Allt-i-ett-bok ■ Facit ■ Lärarmaterial med lärarhandledning och ljudfiler

Till BLUEPRINT B VERSION 3.0 finns en gratis webbapp med självrättande övningar och ljudfiler till bokens huvudtexter. Surfa in på liber.se/webbapp för att ta del av den.

VERSION 3.0 Best.nr 47-12107-6 Tryck.nr 47-12107-6

VERSION 3.0

CHRISTER LUNDFALL RALF NYSTRÖM

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BLUEPRINT B ENGELSKA 6

CHRISTER LUNDFALL RALF NYSTRÖM

VERSION 3.0

LIBER

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isbn 978-91-47-12107-6 © 2018 Christer Lundfall, Ralf Nyström och Liber AB Redaktion Anna Granlund Formgivning Eva Jerkeman Bildredaktion Marie Olsson Produktion Anna Törnqvist Göpel Tredje upplagan 1 Repro Repro 8 AB, Stockholm Tryck People Printing, Kina 2018

Vi vill tacka våra lärargranskare för många värdefulla synpunkter. Tack till Johanna MacDonald för språkgranskning. Stort tack även till eleverna på Franska skolan, Stockholm, för mönstertexterna till Writer’s Workshop.

Kopieringsförbud Detta verk är skyddat av upphovsrättslagen. Kopiering, utöver lärares och elevers begränsade rätt att kopiera för undervisningsbruk enligt BONUS-avtal, är förbjuden.

BONUS-avtal tecknas mellan upphovsrättsorganisationer och huvudman för utbildningsanordnare, t.ex. kommuner och universitet.

Intrång i upphovsmannens rättigheter enligt upphovsrättslagen kan medföra straff (böter eller fängelse), skadestånd och beslag/förstöring av olovligt framställt material.

Såväl analog som digital kopiering regleras i BONUSavtalet. Läs mer på www.bonuscopyright.se.

Liber AB, 113 98 Stockholm Kundservice tfn 08-690 90 00 Kundservice.liber@liber.se www.liber.se

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bildförteckning 10 10 12

(1) Anne Dillner/Scandinav/TT (2) Christian Beutler/Keystone/TT (1) Robert Hunt Library/Mary Evans Picture/TT 12 (2) Maskot/TT 14 Ilona Wellman/Millennium/TT 19 The Asahi Shimbun/Getty Images 23 (1) Bonnie Jo Mount/The Washington Post/ Getty Images 26 Bridgeman/IBL 28 Lebrecht/IBL 31 Oliver Twist. Ben Kingsley and Barney Clark. BB/Splash News/IBL 34 Columbia/Everett Collection/IBL 40 Capital Pictures/TT 43 John Locher/AP/TT 49 Cindy Barrymore/REX/IBL 56 Everett Collection/IBL 61 Oliver Twist. Barney Clark and Leanne Rowe. Columbia/Everett Collection/IBL 66 (1) Moviestore/REX/IBL 66 (2) Everett Collection/IBL 88 Tolga Akmen/AFP/TT 90 Jose Luis Magana/AP/TT 92 Getty Images 93 The Granger Collection/TT 95, 104 Watson/Camera Press/BL 100 Focus Features/Everett Collection/IBL 117 Miramax/Everett Collection/IBL 127 Focus Features/Everett Collection/IBL 136 Kieran Scott/Getty Images 138 Jan Rieckhoff/Ullstein Bild/IBL 141 Patrick T. Fallon/Reuters/TT 143 Everett Collection/IBL 146 Ricky Cariotl/The Washington Post/Getty Images 149 Ken McKay/REX/IBL 150 Alive. Buena Vista Pictures/Everett Collection/IBL 158 Nick Otto/The Washington Post/Getty Images 176 Anthony Hatley/Millennium/TT 181 (1) Viollet/IBL 181 (2) Zoubeir Souisi/Reuters/TT 184 Kristen Gelineau/AP/TT 186 Richard Milnes/REX/IBL 190 (1) Stephane de Sakutin/AFP/TT 190 (2) Yellow Sun/TT 193 Camera Press/IBL

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194 200 203 211 211 218 244

Bella Howard/Kintzing/IBL Annarut Höglund/TT Pilar Olivares/Reuters/TT (1) Waseem Gashroo/Imago stock/IBL (2) Rupi Kaur and Prabh Kaur Charlie Drevstam/Johnér Torsten Blackwood/AFP/TT

Övriga foton: Shutterstock

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Förord I Blueprint B Version 3.0 för kursen Engelska 6 har vi behållit och byggt ut det som Sveriges lärare verkligen uppskattat genom åren: Blue Pages, den ”blueprint” till textproduktion där varje texttyp utvecklas genom guidelines, marginalkommenterade mönstertexter och checklistor.

Vi har tagit fasta på önskemålen om autentiska hörövningar i arbetet med Blueprint B Version 3.0. Minst två Focus on Listening i varje kapitel tränar elevernas hörförståelse av autentiska intervjuer, reportage eller föredrag som sänts på BBC, NPR, TED Talks med mera.

Varje kapitel i boken utvecklar successivt elevernas förmåga att utföra de skriftliga och muntliga framställningar som kursplanens centrala innehåll anger för Engelska 6: att instruera, berätta, sammanfatta, förklara, kommentera, värdera, motivera sina åsikter, diskutera och argumentera, samt analysera litteratur.

Kapitlen innehåller texter och hörövningar som sätter teman i relation till elevernas egna erfarenheter – och utmanar dem. Blueprint B Version 3.0 anknyter till händelser, åsikter, idéer, känslor, relationer och etiska frågor. Innehållsfrågor i Reading/Listening for meaning och diskussionsuppgifter i Reflect & Share bygger upp och fördjupar förståelsen av texterna respektive hörövningarna. Ordövningar i Word Work betonar strukturer och utvecklar det mest frekventa och användbara ordförrådet.

Gloslistorna är frekvensmarkerade enligt Macmillans English Dictionary for Advanced Learners, med tillägg av ord som är viktiga för temat.

I Blueprint B Version 3.0 tillämpar vi ett tydligare lexikaliskt synsätt.

Både i ordövningar och i de nya gloslistorna övas collocations, det vill säga ordpar eller grupper av ord som normalt förekommer tillsammans och bör läras in som språkliga enheter eller hela fraser. Det är också viktigt att ta till sig de sammanhang som orden förekommer i för att kunna förstå exakta betydelser och senare kunna använda orden korrekt i produktion.

I webbappen får eleverna extra övning och möjlighet att testa sig själva.

3

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Contents CHAPTER

READING

Door Opener 7

Reality Bites

Funeral Blues – Poetry No Place to Call Home – Fiction The Chimney Sweeper – Poetry Sensitivity Readers – FACTUAL TEXT Life in the Underworld – FICTION Is Media Violence Damaging to Kids? – Article

15 16 26 28 29 39

H e a rt b e at a n d H e a rt b r e a k 57

Frankenstein – Fiction A Crime in the Neighborhood – Fiction The Heart Goes Last – Fiction So We’ll Go No More A-Rowing – Poetry Riding the Whip – Fiction The Wild Swans at Coole – Poetry

57 58 68 74 75 83

L i b e r at i o n L e e way 89

Fighting and Writing for Women – Factual TEXT Class, Pride and Prejudice – Fiction The Eavesdropper – Fiction Jane Eyre – Standing up for Herself – Fiction The Story of an Hour – Fiction Suffragette – Fiction

92 94 110 116 121 126

H o w Fa r Wo u l d Y o u G o ? 137

Killing on Orders – Article How far Are We Unwilling to Go? – REPORT My Body My Genes – Article Dropping Out – Fiction

138 148 156 162

C u lt u r e C l a s h e s 177

I’m just a Red Nigger – Poetry When Cultures Clash – Article The Australians Who Are Outcasts in Their Own Land – Article Muslim Model Halima Aden on Defying Beauty Standards – Article Curled or Straight? – Fiction The Jaguar – Poetry

177 180 183 192 198 209

At Wo r k 219

Just Sixteen – advertisement I’m an Influencer – letter Undercover in Low-Wage America – Factual text The Forge – Poetry Little Miss Fix-It – Fiction The Road Not Taken – Poetry Best Job in the World – article The Best Job in the World? – Advertisements

219 220 223 228 230 239 244 249

15

B l u e Pa g e s 255

© Speaker’s Corner

u

269

W r i t e r ’ s Wo r ks h o p 282

Wo r d l i s t 307

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LISTENING

4 Reasons to Learn a New Language – Interview How Kids Learn Language – Interview OMG Turns 100 – REPORT

WRITING

Discussing and negotiating 25 Describing Characters 36 Team Debate 52

Blog post Express opinion Discussion essay

38 50 54

Short presentation Presenting and discussing articles in groups

An article in the newspaper Literary analysis

65 87

8 10 12

The Gift – Radio Show Not Letting #Gamer Gate Ruin My Life – Interview

23

Stephen King – Interview The Black Cat – Fiction

66 81

The Girl with the Lower Back Tattoo – Interview The Mathematics of Love – Lecture

SPEAKING

49

72

85

Describing characters 105 Summary 109 Talk show 132

Write a profile 131 Argumentative essay 134

Moral Latitude and the Choices We Make – Radio Show 146 Researchers examine when people are more susceptible to fake news – Interview 169

Discuss pros and cons Argumentative speech

Express opinion Discussion essay – cause and effect

173

171

The Poor Savage – FICtion The Danger of a Single Story – Speech Rupi Kaur – Interview

178 190 211

Team Debate

214

Discussion essay – problem and solution

216

Grit – Interview Work Places Taking Instructions

229 241 242

A Job Interview

CV or résumé Covering letter

252 253

90 129

160

250

161

5

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DOOR-OPENER

6

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DOOR- OPENER

DOOROPENER 7

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Congratulations and welcome to English – a global language and door-opener to our world.

Listen carefully. The following three recordings will explain: 1. reasons why you should learn English 2. why children are NOT better than adults at learning language 3. how the expression OMG came about

All ears!

FOCUS ON LISTENING

4 Reasons to Learn a New Language recite återge predict förutsäga enticing lockande obscure svårfattlig flutter fladder, pladder imbibe ”suga upp” dementia demens diligent flitig

DOOR-OPENER

L I S T E N I N G FO R M E A N I N G

1. John McWhorter provides five examples of areas where English is

the world’s universal language. What areas?

2. If Mandarin is spoken by more people than English, why isn’t

Mandarin taking over the world?

8

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3. If learning languages is not changing the way we think, why

should we care?

4. The speaker talks about going into another culture through a

”curtain”. What does he mean by this?

5. What is the second reason to learn languages, according to John

McWhorter? (Single out one alternative.) a) you will get demented b) dementia sets in earlier c) juniors are better than seniors at learning new languages d) knowing many languages is good for your brain 6. How is learning to speak a language with a different word order,

according to McWhorter, like ”driving on the other side of the road”? (Single out one alternative.) a) It is an exciting experience. b) It is dangerous. c) It makes you a better driver. d) None of the above.

7. True or false? (Two are false, two are true.) According to the

speaker: a) Cambodian has an unusually large number of vowels. b) Cambodian has an unusually large number of consonants. c) Cambodia has many beehives. d) The many vowels that Cambodian has are enjoyable.

8. According to John McWhorter, why is it easier to learn a new

language today? (One alternative is correct.) a) You become a better learner while drinking bourbon. b) It is easier to learn a language today, compared with 20 years ago. c) There is so much data on record. d) Because today’s technology makes language learning more accessible than before.

First prepare individually, then form groups to share and discuss your answers.

The speaker is actually advocating the fact that everyone should learn a new language. How is this conclusion to some extent contradictory to the introduction of his speech?

DOOR-OPENER

R E F L E CT & S H A R E

9

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FOCUS ON LISTENING

How Kids Learn Language task uppgift

There are plenty of myths when it comes to language learning. It takes a professor to reveal the truth behind the most common one: how good children

DOOR-OPENER

are at learning a new language.

10

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L I S T E N I N G FO R M E A N I N G

1. True or false? “Children learn languages automatically for free.

Then something happens to our brains and we’re finished. Adults can no longer learn languages.”

2. How does professor Bialystok explain circumstances and

differences in language learning between adults and children?

3. What is the main difference between learning languages as a child

and as an adult?

R E L F E CT & S H A R E

DOOR-OPENER

What about pronunciation – do you think it is true that adults learn good pronunciation more easily than children too?

11

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FOCUS ON LISTENING

OMG Turns 100 erudite lärd knighthood riddarorden subsequent efterföljande initialism förkortning

Some teen text terms aren’t really that recent. OMG is one.

Admiral Fisher, (1841–1920), here in full ceremonial uniform.

12

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L I S T E N I N G FO R M E A N I N G

1. The first known use of the abbreviation OMG was in a letter.

a) What year was this letter written? b) Who was the addressee of the letter?

2. Winston Churchill became Prime Minster of the United Kingdom

during World War II. How frequently did he use the expression OMG? (One alternative is correct.) a) He incorporated it in his rhetoric. b) Never, as far as we know. c) He used it on the beaches. d) He used it in the mid-90s.

3. In what way was the abbreviation OK a misspelling?

FYI: Even if the expression OMG isn’t exactly new, there are many more teen text terms that are. Which of the following can you identify and use correctly in context?

F2F

IRL

SSDD

AFK

FYEO

IU2U

TIME

ATM

FYI

J4F

TMB

B4

GR8

LOL

WTH

BF / GF

HAK

PAW

WTPA?

BRB

IDK

PLS or PLZ

ZOMG

BTW

ILU

QQ

DWBH

IMO

SRSLY

DOOR-OPENER

ADN

13

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BITES REALITY

14

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REALITY BITES Funeral Blues Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead Scribbling on the sky the message He Is Dead, Put crĂŞpe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves.

W.H. Auden, 1938

REALITY

The stars are not wanted now: put out every one; Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood; For nothing now can ever come to any good.

BITES

He was my North, my South, my East and my West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last forever: I was wrong.

15

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No Place to Call Home from Grand Central Winter by Lee Stringer

A great deal has been written on the topic of homelessness, but it is hard to find legible accounts by the homeless themselves. Lee Stringer is one exception. When he decided to use his pencil for writing instead of a tool for his crack pipe, Stringer’s life and “home” in the narrow, crawl space under Grand Central Station in New York City started to change. Here is how it came about.

REALITY

BITES

spigot outdoor tap baste sweat blast enjoyable and exciting experience screen filter stem narrow tube of a pipe resin crack remains pipe up prepare a pipe to smoke take a hit get high

W

hat happened was I was digging around in my hole – there’s this long, narrow, crawl space in Grand Central’s lower regions, of which few people are aware and into which I moved some time ago. It is strung with lights and there is a water spigot° just outside the cubbyhole through which I enter. It’s on the chilly side in winter, and I baste° down there in summer, but it is, as they say, home.

I have filled this place with blankets and books and have fortified it with enough cardboard baffles to hold any rats at bay (the secret being, of course, to never bring food down here. It’s the food that attracts them). So, at the end of the day I come down here to polish off that last, lonely blast°. Or just to sleep it off.

But as I said, I was digging around in this hole – lying flat on my back, reaching back and under the old blankets, newspapers, and clothes that I’ve amassed over time and that keep me insulated from the concrete floor, trying to find some small, dowellike instrument with which to push the screens° from one end of my stem to the other, so that I could smoke the remaining resin° caked up in the thing.

For those of you who have not had the pleasure, I point out that when you are piping up°, the first thing to go is your patience. And I’m digging around under this mess, cursing and muttering under my breath like an old wino on a three-day drunk, when my fingers finally wrap around some sort of smooth, straight stick.

I pull it out and it’s a pencil and it does the trick. I push my screens and take a hit° and have a pleasurable half hour of sweaty, trembling panic that at any second someone

16

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The Grand Central station in New York.

BITES

scratch money go cop buy

REALITY

or something is going to jump out of the darkness – I get much too paranoid to smoke with the lights on – and stomp the living shit out of me or something.

That’s the great thing about being a veteran crackhead.

Always a lot of fun.

Anyway, the point is, I start carrying this pencil around with me because I really hate like hell to be caught without something to push with and then have to go searching or digging around like I was doing when I found the thing.

The good thing about carrying a pencil is that it’s a pencil. And if I get stopped and searched for any reason, it’s just a pencil. Of course I carry my stem around too. And there’s no doubt about what that’s for.

But, hey, I’m not looking to strain my cerebral cortex on the subject.

It’s all I can do just to hustle up enough scratch° every day and go cop°

17

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REALITY

BITES

film very thin layer residue what is left

something decent – without getting beat, arrested, or shot – so I can have a lovely time cowering in the dark for a couple of hours.

So I have this pencil with me all the time and then one day I’m sitting there in my hole with nothing to smoke and nothing to do and I pull the pencil out just to look at the film° of residue° stuck to the sides – you do that sort of thing when you don’t have any shit – and it dawns on me that it’s a pencil. I mean it’s got a lead in it and all, and you can write with the thing.

So now I’m at it again. Digging around in my hole. Because I know there’s an old composition book down there somewhere and I figure maybe I can distract myself for a little while by writing something.

The things a person will do when he’s not smoking.

The funny thing is, I get into it.

I mean really get into it.

I start off just writing about a friend of mine. Just describing his cluttered apartment. How I kind of like the clutter. How it gives the place a lived-in look. How you can just about read his life by looking around.

So I’m writing away, and the more I write, the easier it gets. And the easier it gets, the better the writing gets, until it’s like I’m just taking dictation.

Pretty soon I forget all about hustling and getting a hit. I’m scribbling like a maniac; heart pumping, adrenaline rushing, hands trembling. I’m so excited I almost crap on myself.

It’s just like taking a hit.

Before I know it, I have a whole story.

I go to read the thing and it’s a mess. The pages are all out of order.

Parts are scratched out. Other parts are written sideways in the margins.

But what I can read looks pretty good.

Even great in parts.

By the time I go back and carefully rewrite the thing, it’s too late at night for me to bother going out, which is a remarkable thing for me because I don’t think there’s been a day since I started that I have gone without at least one hit.

So I read the story over and over.

Fix a few things.

And what I end up with reads like Tennessee Williams (I have a paperback with all his short stories in it) in the way it kind of comes

18

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REALITY

in through the side door. I mean, Williams will start off talking about, say, what it smells like to work in a shoe factory and before you know it, he’s going on about wanting to kill his father or something like that.

That’s how my story went.

It started with my friend’s house and then I have a guy sitting there with him who wants to get some pills from him so he can take himself out before the AIDS virus gets him – you see, he is HIV positive – and when he gets the pills he goes over to the park to just lie down and fade away on the grass.

Only he feels the need to apologize to the world because he has to die in public. And someone will have to come along and pick up his sorry, dead ass and all. But he’s homeless, there’s no place for him to go.

I guess they’ll never make a musical out of it.

But the thing is – and this is what gets me – when I read the story, I can feel this guy’s pain! I mean, I haven’t been able to feel much of anything in years. And there I am, sitting down there under Grand Central, reading this thing scribbled in an old composition book, and I’m practically in tears.

The next day I take the story over to my friend’s house and he reads it. All I’m expecting from him is a sarcastic remark because this guy is one of those snob alcoholics. He doesn’t approve of anything.

Ever.

Least of all me.

BITES

Former homeless writer Lee Stringer outside the Grand Central Station in New York City.

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But he just puts it down quietly when he finishes and gives me the slightest nod. Then he says, ‘Do you love me?’

I know why he asks this.

Because in the story the two guys are friends but they would never admit it. They just hang around together putting each other down° all the time – a lot like my friend and me – and in the end the one guy is sorry because he’ll never have the chance to tell his buddy that he loves him – in a normal sort of way, I mean – and that he’ll miss him.

He never realizes this until he’s dying.

The only real difference between the story and me and my friend, come to think of it, is that I’m not HIV-positive and I’m not dying.

But my friend is.

And when he asks me whether or not I love him, it gets to° me because I would never have thought he gave a shit one way or the other.

So I go over to him and hug him, and that weepy shit starts kicking up° again.

What can I tell you?

It was one of those moments.

All because I sat in my hole and wrote this little story.

Next thing you know, I’m up at the Street News office with it, asking if anybody’d be interested in putting it in the paper and – sure enough – damned if I don’t open up the next issue and there’s my story!

That’s how I got my first thing published in Street News.

I think I called it ‘No Place to Call Home.’

A couple of months later I had a regular column in there. And – one thing after the other – I had the writing bug.

After that there were four things I did every day. Hustle up money, cop some stuff, beam up, and write. And in the end I wound up dropping the other three.

REALITY

BITES

put down criticize it gets to me affect me kick up be emotional

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R E A D I N G FO R M E A N I N G

1. Describe the narrator’s “cubbyhole”.

2. The narrator is “digging around” in his hole, losing his patience.

Why? 3. Stringer finally managed to give up his addiction to crack cocaine.

What saved him?

R E F L E CT & S H A R E

First prepare individually, then form groups to share and discuss your answers.

1. Throughout his book Stringer makes ironic remarks about

his situation. “That’s the great thing about being a veteran crackhead,” for example. What other examples of irony do you find?

2. “Do you love me?” Stringer’s friend asks when he has read the

story. Why this question?

3. By reading the text, how can we tell Lee Stringer is a sensitive

person?

WO R D WO R K

A.

Synonyms

What synonyms for the italicized words are used in the text?

1. The student said he was sorry for interrupting the teacher.

2. He did not like the plan for the next class project.

3. Lee Stringer amused himself by writing stories.

4. The starving woman slowly became weaker and weaker.

5. There was a layer of oil on the water.

6. The artists staged their performance for all to see.

7. She could keep up with him without tiring herself.

REALITY

BITES

8. He finished the meeting by thanking the participants.

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B.

Informal and formal English

If Lee Stringer’s story were written as a report or an article, the audience would expect a formal level of English (see pp. 256–257).

Rewrite the sentences changing the italicized words and expressions into formal ones from the box. Sometimes you must change the form and add a word or two to make them fit the context. buy be emotional raise corpse approach finish

euphoria cannot contain oneself arrive perspire money upset

enjoy wretch terrify smoke (crack) bother collect

1. Lee Stringer bastes in his cubbyhole in the summer heat.

2. At the end of the day he returns to a) polish off that last, lonely

b) blast.

3. Mostly he a) takes a hit, and has a pleasurable half hour of panic

that something is going to jump out of the darkness and b) stomp the living shit out of him.

4. His main daytime occupation is to a) hustle up enough b) scratch

every day to c) go cop something decent so that he can have a lovely time.

5. When Stringer starts writing, he gets into it.

6. He is so excited that he almost loses his grip.

7. He worries that his character has to die in public, and someone

will have to a) come along and b) pick up his c) dead ass.

8. When Stringer’s friend asks him whether or not he loves him, it

a) gets to Stringer because he never thought his friend b) gave a shit one way or the other.

9. Stringer a) goes over to him and hugs him, and that b) weepy shit

REALITY

BITES

starts c) kicking up.

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FOCUS ON LISTENING

The Gift Growing up in America Rob Scheer spent many years in foster homes. When he turned ten he received a dreary gift, but it inspires his work today.

abuse misshandel shelter härbärge braces tandställning treasure uppskatta tag (pris)lapp cavity hål i en tand etui fodral thrive må bra

REALITY

BITES

Rob Scheer hugs his son Makai. Rob and his husband Reece have adopted four children. They are pleased with the Supreme Court decision on the Defense of Marriage Act. His family is now entitled to the same benefits as heterosexual couples.

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L I S T E N I N G FO R M E A N I N G

1. Why was Rob Sheer’s childhood chaotic? (Two are false, two are

true.) a) he was constantly moving around b) there was physical and psychological abuse c) because there were ten children in the family d) he spent it at an orphanage 2. The focus of the grown-ups around Sheer was not on their

children – but on what?

3. When Rob Sheer was around 10 something happened – which

he calls the greatest gift. What was that?

4. Why wouldn’t Rob’s foster parents take care of him after he

turned 18?

5. How did Rob manage life after his 18th birthday?

6. One of the things Rob worries about today is: (Single out the

correct alternative.) a) bullying b) holes in his shoes c) toothbrushes d) none of the above 7. At this a point in his life, Rob Sheer needed a roof and proper

meal on a daily basis. How did he get this?

8. Why was staying at a motel such an emotional experience for

Rob? (Three alternatives are true.) a) Because he was extremely unhappy. b) Because it was the first time for a very long time that he had slept in a bed. c) He washed away memories of the past. d) He could lock the door and be in a room of his own.

9. After less than a year Rob had a new occupation. What was it?

10. In his 30s, Rob met Reez. What was the question he asked Reez

on their first date?

11. What did Rob and Reez feel about the children they met for

adoption?

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12. Many of the children that were adopted arrived with their

belongings in bin bags. What particular reason is there for Rob to be emotional?

13. Why did a tag on a nightgown change his daughter’s life?

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14. In time, Rob was not only adopting children, but worked for an

even greater good. What was that?

15. How many “comfort cases� have Rob and Reez made so far?

(Single out the correct alternative.) a) 200 b) 2000 c) 3000 d) 30 000

S P E A K I N G LO U D A N D C L E A R

Volunteering for charitable work

Where do you want to help? What would you choose to get involved in? Why would you like to get involved in this cause?

1. First, work individually. Describe what charitable work you

would choose and what it would involve. Give reasons why it is so important.

2. Form groups of four to six students. Share your ideas, and make

sure you convince those who are listening to join your cause. Ask each other questions, seeking more information and details about their choice of charitable work to help people.

3. Discuss and try to come to an agreement on which one of the

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ideas appeals to you the most.

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The Chimney° Sweeper

by William Blake chimney Sw. skorsten weep cry

When my mother died I was very young, And my father sold me while yet my tongue Could scarcely cry° “ ‘weep! ‘weep! ‘weep! ‘weep!”

So your chimneys I sweep & in soot I sleep.

There’s little Tom Dacre, who cried when his head That curled like a lamb’s back, was shaved, so I said, “Hush, Tom! never mind it, for when your head’s bare, You know that the soot cannot spoil your white hair.”

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’The Chimney Sweeper’, original plate by William Blake (1757–1827).

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And so he was quiet, & that very night, As Tom was a-sleeping he had such a sight!

That thousands of sweepers, Dick, Joe, Ned, & Jack, Were all of them locked up in coffins of black;

coffin box in which a dead person is buried plain large, flat area of land sport play happily want be without

And by came an Angel who had a bright key, And he opened the coffins° & set them all free; Then down a green plain°, leaping, laughing they run, And wash in a river and shine in the Sun. Then naked & white, all their bags left behind, They rise upon clouds, and sport° in the wind.

And the Angel told Tom, if he’d be a good boy, He’d have God for his father & never want° joy.

And so Tom awoke; and we rose in the dark And got with our bags & our brushes to work.

Though the morning was cold, Tom was happy & warm; So if all do their duty, they need not fear harm.

R E F L E CT & S H A R E

First prepare individually, then form groups to share and discuss your answers.

1. Who is the narrator of this poem?

2. Who is Tom Dacre?

3. Evidently, Tom Dacre’s head was shaved. Why, do you think?

4. Also, we could interpret Tom’s white hair and the black soot in

symbolic terms. How? 5. After introducing us to Tom Dacre, the narrator tells us about a

the actual labour the chimney sweepers are doing. Explain.

7. “And the angel told Tom, if he’d be a god boy, he’d have God for

his father/…/”These are strange lines. We can interpret them as ironic. How?

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6. The coffins, too, can be understood as metaphors, if we think of

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dream he had. Describe the feelings expressed in that dream.

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SENSITIVITY READERS

On its ’journey’ to publication, a book is checked by a number of different people, including the writer’s friends and family members, his or her agent and an editor. Nowadays, however, there is someone else who could go over it, too, and this ’someone’ is known as a ’sensitivity reader’.

A sensitivity reader is paid to check books for any racist, sexist or otherwise offensive content. Sensitivity readers are experts in detecting any potentially offensive material, including topics such as death, racism or transgenderism.

Sensitivity readers are a recent phenomenon, brought about partly due to social media where writers’ works are scrutinized for anything which could be considered insensitive or offensive.

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If sensitivity readers had existed in the 19th century, they would probably have reacted to the portrayal of child labour and the descriptions of ’the Jew’ in Charles Dickens’ Oliver Twist. Whatever a sensitivity reader might have said about it, however, one cannot deny that Oliver Twist was, and remains, a great work of literature, particularly concerning marginalized groups and minority communities.

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Life in the Underworld from Oliver Twist by Charles Dickens

Oliver Twist is one of the more famous descriptions of a life indeed out of step with society. It was written by Charles Dickens in 1838, and tells the story of a boy lost in London’s underworld. An orphan, Oliver, leaves the countryside and walks his way to London, where he meets Fagin, who offers him a bed.

Exhausted from his seven-day walk, Oliver falls asleep in his new home. But reality bites …

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stanch staunch, loyal peach upon inform against

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I

t was late next morning when Oliver awoke from a sound long sleep. There was no other person in the room but the old Jew, who was boiling some coffee in a saucepan for breakfast, and whistling softly to himself as he stirred it round and round with an iron spoon.

Although Oliver had roused himself from sleep, he was not thoroughly awake. He saw the Jew with his half-closed eyes, heard his low whistling, and recognized the sound of the spoon grating against the saucepan’s sides; and yet the self-same senses were mentally engaged, at the same time, in busy action with almost everybody he had ever known.

When the coffee was done, the Jew drew the saucepan to the hob; and, standing in an irresolute attitude for a few minutes, as if he did not well know how to employ himself, turned round and looked at Oliver, and called him by his name. He did not answer, and was to all appearance asleep.

After satisfying himself upon this head, the Jew stepped gently to the door, which he fastened. He then drew forth, as it seemed to Oliver, from some trap in the floor, a small box, which he placed carefully on the table. His eyes glistened as he raised the lid and looked in. Dragging an old chair to the table, he sat down, and took from it a magnificent gold watch, sparkling with jewels.

“Aha!” said the Jew, shrugging up his shoulders, and distorting every feature with a hideous grin. “Clever dogs! Clever dogs! Stanch° to the last! Never told the old parson where they were. Never peached upon° old Fagin! And why should they? It wouldn’t have loosened the

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REALITY

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minute very small repent say you are sorry play booty take care of things obtained by plunder white-livered lacking in courage

knot, or kept the drop up a minute longer. No, no, no! Fine fellows!

Fine fellows!”

With these, and other muttered reflections of the like nature, the Jew once more deposited the watch in its place of safety. At least half a dozen more were severally drawn forth from the same box and surveyed with equal pleasure; besides rings, brooches, bracelets, and other articles of jewellery, of such magnificent materials and costly workmanship, that Oliver had no idea even of their names.

Having replaced these trinkets, the Jew took out another, so small that it lay in the palm of his hand. There seemed to be some very minute° inscription on it; for the Jew laid it flat upon the table, and shading it with his hand, pored over it long and earnestly. At length he put it down, as if despairing of success; and leaning back in his chair, muttered, – “What a fine thing capital punishment is! Dead men never repent;° dead men never bring awkward stories to light. Ah, it’s a fine thing for the trade! Five of ’em strung up in a row, and none left to play booty°, or turn white-livered!°” As the Jew uttered these words, his bright dark eyes, which had been staring vacantly before him, fell on Oliver’s face. The boy’s eyes were fixed on his in mute curiosity; and, although the recognition was only for an instant – for the briefest space of time that can possibly be conceived – it was enough to show the old man that he had been observed. He closed the lid of the box with a loud crash; and, laying his hand on a bread-knife which was on the table, started furiously up.

He trembled very much, though; for, even in his terror, Oliver could see that the knife quivered in the air.

“What’s that?” said the Jew. ’What do you watch me for? Why are you awake? What have you seen? Speak out, boy! – Quick – quick! for your life!”

“I wasn’t able to sleep any longer, sir,” replied Oliver, meekly. “I am very sorry if I have disturbed you, sir.”

“You were not awake an hour ago?” said the Jew, scowling fiercely on the boy.

“No – no, indeed,” replied Oliver.

“Are you sure?” cried the Jew, with a still fiercer look than before, and a threatening attitude.

“Upon my word I was not, sir,” replied Oliver, earnestly. “I was not, indeed, sir.”

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Scene from Oliver Twist (2005), Charles Dickens’ classic story of a young boy who gets involved with a gang of pickpockets in 19th century London.

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1. What does Oliver see when he wakes up?

2. Why does the man get angry when he discovers that Oliver has woken up?

miser someone who hates spending money but saves it

REALITY

“Tush, tush, my dear!” said the Jew, abruptly resuming his old manner, and playing with the knife a little, before he laid it down, as if to induce the belief that he had caught it up in mere sport. “Of course I know that, my dear. I only tried to frighten you. You’re a brave boy.

Ha! ha! you’re a brave boy, Oliver!” The Jew rubbed his hands with a chuckle, but glanced uneasily at the box notwithstanding.

“Did you see any of these pretty things, my dear?” said the Jew, laying his hand upon it after a short pause.

“Yes, sir,” replied Oliver.

“Ah!” said the Jew, turning rather pale. “They – they’re mine, Oliver; my little property. All I have to live upon in my old age. The folks call me a miser°, my dear – only a miser, that’s all.”

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REALITY

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pocket-book wallet lined filled with money ingenious very good at inventing things and having new ideas

Oliver thought the old gentleman must be a decided miser to live in such a dirty place, with so many watches; but, thinking that perhaps his fondness for the Dodger and the other boys cost him a good deal of money, he only cast a deferential look at the Jew, and asked if he might get up.

“Certainly, my dear – certainly,” replied the old gentleman. “Stay.

There’s a pitcher of water in the corner by the door. Bring it here; and I’ll give you a basin to wash in, my dear.”

Oliver got up, walked across the room, and stooped for one instant to raise the pitcher. When he turned his head the box was gone.

He had scarcely washed himself, and made everything tidy, by emptying the basin out of the window, agreeably to the Jew’s directions when the Dodger returned, accompanied by a very sprightly young friend, whom Oliver had seen smoking on the previous night, and who was now formally introduced to him as Charley Bates. The four sat down to breakfast on the coffee, and some hot rolls and ham, which the Dodger had brought home in the crown of his hat.

“Well,” said the Jew, glancing slyly at Oliver, and addressing himself to the Dodger, “I hope you’ve been at work this morning, my dears?”

“Hard,” replied the Dodger.

“As Nails,” added Charley Bates.

“Good boys, good boys!” said the Jew. “What have you got, Dodger?”

“A couple of pocket-books°,” replied that young gentleman.

“Lined?°” inquired the Jew, with eagerness.

“Pretty well,” replied the Dodger, producing two pocket-books, one green and the other red.

“Not so heavy as they might be,” said the Jew, after looking at the insides carefully, “but very neat and nicely made. Ingenious° workman ain’t he, Oliver?”

“Very, indeed, sir,” said Oliver.

“And what have you got, my dear?” said Fagin to Charley Bates.

“Wipes,” replied Master Bates, at the same time producing four pocket-handkerchiefs.

3. What is the name of “the Jew”?

4. Obviously, the Dodger and his fellows are pick-pockets. What have they stolen this time?

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mark observe, notice nimbly quickly

REALITY

Well,” said the Jew, inspecting them closely, “they’re very good ones – very. You haven’t marked° them well, though, Charley; so the marks shall be picked out with a needle, and we’ll teach Oliver how to do it.

Shall us, Oliver, eh? Ha! ha! ha!”

“If you please, sir,” said Oliver.

“You’d like to be able to make pocket-handkerchiefs as easy as Charley Bates, wouldn’t you, my dear?” said the Jew. “Very much indeed, if you’ll teach me, sir,” replied Oliver.

When the breakfast was cleared away, the merry old gentleman and the two boys played at a very curious and uncommon game, which was performed in this way. The merry old gentleman, placing a snuff-box in one pocket of his trousers, a note-case in the other, and a watch in his waistcoat pocket, with a guard chain round his neck, and sticking a mock diamond pin in his shirt, buttoned his coat tight round him and putting his spectacle-case and handkerchief in his pockets, trotted up and down the room with a stick, in imitation of the manner in which old gentlemen walk about the streets any hour of the day. Sometimes he stopped at the fireplace, and sometimes at the door, making believe that he was staring with all his might into shop windows. At such times he would look constantly round him, for fear of thieves, and keep slapping all his pockets in turn, to see that he hadn’t lost anything, in such a very funny and natural manner that Oliver laughed till the tears ran down his face. All this time the two boys followed him closely about; getting out of his sight so nimbly°, every time he turned round that it was impossible to follow their motions. At last the Dodger trod upon his toes, or ran upon his boot accidentally, while Charley Bates stumbled up against him behind; and in that one moment they took from him, with the most extraordinary rapidity, snuff-box, note-case, watchguard, chain, shirt-pin, pocket-handkerchief – even the spectacle-case.

If the old gentleman felt a hand in any one of his pockets, he cried out where it was; and then the game began all over again.

When this game had been played a great many times, a couple of young ladies called to see the young gentlemen; one of whom was named Bet, and the other Nancy. They wore a good deal of hair, not very neatly turned up behind, and were rather untidy about the shoes and stockings. They were not exactly pretty, perhaps; but they had a great deal of colour in their faces, and looked quite stout and hearty.

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BLUEPRINT

Den omtyckta BLUEPRINT är uppgraderad: två autentiska hörövningar i varje kapitel, nya exempeltexter för kursplanens texttyper, utbyggda ordövningar och kommentarer i gloslistor. Också de användbara Blue Pages är uppdaterade. VERSION 3.0 startar med ett introduktionskapitel där eleverna introduceras till det globala världsspråket engelska och fortsätter med texter och teman som berör och engagerar.

BLUEPRINT B 3.0 är ett läromedel som tar eleverna på samma allvar som förut och metodiskt utvecklar deras engelska.

B

BLUEPRINT B VERSION 3.0 består av

BLUEPRINT B ENGLISH 6

■ Allt-i-ett-bok ■ Facit ■ Lärarmaterial med lärarhandledning och ljudfiler

Till BLUEPRINT B VERSION 3.0 finns en gratis webbapp med självrättande övningar och ljudfiler till bokens huvudtexter. Surfa in på liber.se/webbapp för att ta del av den.

VERSION 3.0 Best.nr 47-12107-6 Tryck.nr 47-12107-6

VERSION 3.0

CHRISTER LUNDFALL RALF NYSTRÖM

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