The message of a poem, line by line

Grade 8 Reading Worksheet

Circle the best answer.

1. Read this first

   Rewriting the Letter (original poem)

   Stanza 1
   [1] Draft one: “Sorry you were upset.”
   [2] I read it twice. It sounds like weather,
   [3] something that happened to us both,
   [4] and I crumple it into a tidy ball.

   Stanza 2
   [5] Draft two: “I'm sorry, but the bus was late,
   [6] and you know how the group chat gets.”
   [7] That little “but” sits in the middle like a stone.
   [8] I tear the page along its folded edge.

   Stanza 3
   [9] Draft three is slow. I cross out every excuse.
   [10] “I told Tala your secret. I thought it was funny.
   [11] It wasn't. You trusted me, and I laughed.”
   [12] My hand feels heavy, but the words stay put.

   Stanza 4
   [13] This one I fold and slide beneath the door
   [14] before I can decide to take it back.
   [15] It is the hardest of the three to write,
   [16] and the first one that doesn't sound like someone else.
   Annotations: stanza 1 = the first try; stanza 2 = the second try; stanza 3 = the third try; stanza 4 = the delivery.

2. 1.

   Esme thinks about the speaker's situation: three drafts of one apology. Which theme links that situation to the poem's message?

   • Each new draft of an apology gets closer to owning the harm, which is why the honest one costs the most.
   • Good friends forgive quickly, so a short apology sent soon is better than a long one sent late.
   • The speaker writes three drafts of a letter to a friend, throws out two, and slides the last one under a door.
   • Adding the word but to an apology makes the excuse weigh more than the harm, as line 7 shows.
3. 2.

   Jun looks for the change in the drafts. All four lines are true. Which line proves this most strongly: “By the third draft, the speaker admits the secret broke the friend's trust”?

   • [10] “I told Tala your secret. I thought it was funny.
   • [15] It is the hardest of the three to write,
   • [11] It wasn't. You trusted me, and I laughed.”
   • [3] something that happened to us both,
4. 3.

   Kira follows the drafts from stanza 1 to stanza 4. Which theme includes how the speaker's idea of an apology changes?

   • A short word like but can turn an apology into an excuse, which weakens the whole letter.
   • A person who writes three honest drafts has repaired the friendship, so the letter was worth sending.
   • An apology moves from sounding true to sounding smooth as the speaker learns which words friends like to hear.
   • An apology moves from sounding smooth to sounding true as the speaker stops excusing and starts owning what happened.
5. 4.

   Luz looks at where the poem ends: a letter slid beneath a door. Which theme links that ending to the poem's message?

   • Saying what really happened takes nerve, and it is the version that finally sounds like the speaker's own voice.
   • Writing a letter several times before sending it is the safest way to say sorry to a friend.
   • The speaker folds the last draft and slides it beneath a door before there is time to take it back.
   • The first draft sounds like weather because it treats the trouble as something that happened to both friends.
6. 5.

   Milo looks for how the speaker feels about the second draft. All four lines are true. Which line proves this most strongly: “The speaker feels the excuse in draft two as a weight”?

   • [4] and I crumple it into a tidy ball.
   • [12] My hand feels heavy, but the words stay put.
   • [7] That little “but” sits in the middle like a stone.
   • [5] Draft two: “I'm sorry, but the bus was late,
7. 6.

   Noah marks the weather comparison, the stone and the ending. Which theme shows how the speaker's sense of a good apology develops?

   • An apology that names the harm will be forgiven right away, so the speaker no longer needs to worry.
   • Calling trouble something that happened to both friends makes a problem feel lighter, as the first draft shows.
   • A good apology is judged less by how smooth it sounds than by whether the speaker can stand behind every word.
   • A good apology should sound as smooth as possible, so the speaker is right to polish each draft further.

8. Attic Inventory (original poem)

   Stanza 1
   [1] Grandpa's attic holds an inventory:
   [2] three lamps without a plug, a trunk of maps,
   [3] a clock that stopped at ten past two, a coat
   [4] that smells like cedar and some distant rain.

   Stanza 2
   [5] The plan is simple: keep, donate, toss.
   [6] I make three piles and feel just like a judge,
   [7] until the toss pile fills with what was cheap:
   [8] a bent spoon, a cracked mug, a whistle that won't blow.

   Stanza 3
   [9] I hold the whistle up. “Where did this come from?”
   [10] Grandpa laughs. And suddenly an hour is gone:
   [11] a lake, a broken boat, a borrowed oar,
   [12] a summer told in what the pile had saved.

   Stanza 4
   [13] By dark the keep pile fits inside a shoebox.
   [14] The toss pile leaves in bags, but not the stories;
   [15] I've folded each of those where I can find it.
   [16] The attic is an ordinary room again.
   Annotations: stanza 1 = the inventory; stanza 2 = the sorting; stanza 3 = the stories; stanza 4 = what is kept.

9. 7.

   Pia thinks about the speaker's situation: sorting a grandparent's attic into three piles. Which theme links that situation to the poem's message?

   • Old attics hold more useful things than people expect, so families should check carefully before throwing anything out.
   • An old object matters for the story it carries, and the story can be kept after the object is gone.
   • A person sorting old things can feel like a judge, deciding what is worth keeping from what looks cheap.
   • The speaker sorts a grandparent's attic into keep, donate and toss piles and finishes with a small box.
10. 8.

    Tala follows the sorting from stanza 2 to stanza 4. Which theme includes how the speaker's idea of worth changes?

    • Worth moves from how an object looks to the stories it holds, and stories can stay when the object goes.
    • Judging objects as keep, donate or toss makes a person feel powerful, like a judge in a courtroom.
    • Worth moves from the stories an object holds to how it looks, so the speaker keeps the things that look valuable.
    • Stories about old objects are how families are remembered, so the family should keep the whole attic.
11. 9.

    Ari looks at what leaves the attic. All four lines are true. Which line proves this most strongly: “The objects leave the attic, but the stories do not”?

    • [14] The toss pile leaves in bags, but not the stories;
    • [15] I've folded each of those where I can find it.
    • [11] a lake, a broken boat, a borrowed oar,
    • [13] By dark the keep pile fits inside a shoebox.
12. 10.

    Bo marks the three piles, the whistle and the shoebox. Which theme shows how the speaker's view changes as the sorting goes on?

    • Grandparents tell the truest stories, so a family should ask them about each object before sorting.
    • Old objects that look cheap or broken, such as a bent spoon, can be thrown out without a second thought.
    • A person who begins by judging objects can end by keeping the stories that give the objects their worth.
    • A person who begins by keeping stories can end by judging objects, which makes the sorting feel colder.