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After the Windows Darken
Analyze figurative language, connotations, analogy, and an original literary allusion in a poem sequence about a city at night.
Grade 8ELAInteractive · Printable
Aligned toRL.8.4
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What’s included
- Single worksheet
- Auto-graded online
- 1 Common Core standard
- Printable answer key
- 14 questions
- Classroom-ready
Details
- Format
- Interactive · Printable
- Grade
- Grade 8
- Subject
- ELA
- Question types
- Multiple choice, Matching, Circle the answer, Short answer
About this worksheet
What students practice
- Students interpret figurative and connotative meanings in an original poem sequence.
- Students analyze how an analogy and a literary allusion develop meaning and tone.
- Students support interpretations of poetic word choices with specific textual evidence.
How to use
Read the source note and poem sequence aloud, pausing between movements. Have students answer independently, then compare the evidence behind their interpretations.
Curriculum
Common Core standard covered
Work out figurative and connotative meanings, and how word choices, analogies, or allusions to other texts affect meaning and tone.
Preview
OwlSheets.com
After the Windows Darken
Explore how a poem’s images, comparisons, and allusion shape a city at night.
Read the Night
Read the source note and the four movements of the poem. Each numbered paragraph is one movement. Choose one answer unless directed otherwise.
After the Windows Darken
1I. Closing The city folds its bright coat across a chair. Office windows darken, square after square. A loose receipt turns slowly beside the curb. Above the avenue, a billboard holds its frozen smile. I call the street deserted, pleased with the large, clean word. Then someone behind a laundry window lifts a mountain of sheets. A delivery worker shoulders a crate through the service door next to me. My word slips off the scene like a coat cut for someone else. The last shop shutter lowers its metal eyelid. I wait beneath it for my sister’s shift to end.
2II. Service Entrance Inside, Saira unties her apron without a flourish. Soap has written pale commas across her sleeves. She pockets her bus fare, counting by touch. Behind her, the dryer keeps a small thunder to itself. “You look tired,” I say. “Finished,” she answers, and the difference stands between us. Tired is a door swinging shut; finished is a key turning in a lock. She checks the latch, then tests it once more. Her shoulders settle, not like falling walls, but like a load placed carefully on solid ground. We step outside carrying nothing that anyone would call a prize.
3III. Crossing At the intersection, the signal offers its green permission. We cross beneath a row of patient lamps. Their light does not conquer the dark; it makes a little room inside it. Saira points toward a man sweeping a building’s steps. His broom gathers the evening into a gray, ordinary pile. Across the road, a woman wraps her scarf around a sleeping child. I think of the keeper of the last ember, that clay cup looking almost empty in his hands. No trumpets followed him along the road. The lamps leave circles just wide enough for the next few steps.
4IV. Upstairs At home, Saira sets a bowl beside my homework. The spoon touches its rim: one clear note. Outside, the avenue continues its low conversation. I once wanted night to mean the end of every task, a black line drawn neatly under the day. Now a light clicks on across the courtyard, and another window answers farther up the block. The city has not become a palace of stars. It is a coat with careful stitches holding where the fabric thins. Saira sits, and I move my books to make room. For a while, neither of us needs the larger word.
- A. The word reminds the speaker of an uncomfortable outfit.
- B. The word sounds too informal for describing the avenue.
- C. The word fails to fit the activity the speaker notices.
- D. The word reveals the speaker’s wish to leave the city.
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