All victor ever wanted to do with his life was be a singer. he didn't pay attention in school and
he spent all of his time at home watching music videos online and impersonating his idols. his
mother tried to teach him the value of getting an education and having a backup plan, but victor
would respond the same way every time, "mom, i won't need to know any of that boring old
stuff when i'm famous. you'll see." but there was one major problem with victor's plan: he
wasn't any good at singing. victor wanted to be a singer so badly, that he didn't notice the
pained look on the faces of those who endured his singing. because he wanted to be a singer so
badly, when honest people told him to find something else to do with his life, he accused them of
being "jealous haters" and ignored their advice. after victor dropped out of high school to focus
on his music career, the years passed and the doors never opened.

In this unit ,we learned about arguments and rhetoric.in an argument we ,not informal language.

"where are you taking me? " the car hesitated, or rather gave a faint whirring click, as if information, somewhere, was dropping card by punch- slotted card under electric eyes. "to the psychiatric center for research on regressive tendencies." he got in. the door shut with a soft thud. the police car rolled through the night avenues, flashing its dim lights ahead. which statement best describes the intended aesthetic impact of this excerpt? o a. by showing leonard obeying the police car, the author reinforces the theme of surrendering one s individuality. o b. by relating the way the car responds, the author underscores the theme of the dangers of a mechanized of society o c. by having leonard, a seemingly normal person, taken to a psychiatric center, the author injects irony, leaving the reader surprised o d. by showing leonard communicating with another person, the author satisfies his need for human contact, leaving the reader hopeful

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.