SR: Chroncles of a Death Foretold

In Chapter one, though it’s hinted at before, the full extent of the trauma that Santiago’s death has caused is first made visible in which quote?

• a) "She had watched him from the same hammock and in the same position in which I found her prostrated by the last lights of old age when I returned to this forgotten village, trying to put the broken mirror of memory back together ..."

• b) "No sooner had I appeared on the threshold than she confused me with the memory of Santiago Nasar."

• c) He is excited to see the Bishop, who is supposed to visit the town that morning on his riverboat.

• d) Both A and B quotes provide adequate clues to the trauma caused.

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CCSS.RL.5.6

CCSS.RL.6.6

CCSS.RL.7.6

CCSS.RL.8.6

The opening paragraph introduces and discusses the theme of ________________.

• fact, Fiction, and memory with the recall of events that establishes the genre of magical realism.

• fate versus free will in that Santiago's fate is predestined.

• the community is consumed with the violence and aftermath trauma of the murder of Santiago

• the sacred and the profane with the use of symbolism.

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CCSS.RI. 9-10.9

CCSS.RI.11-12.9

CCSS.RL.11-12.2

CCSS.RL.8.2

CCSS.RL.9-10.2

The use of narrator as a

• a woman, stranger and investigator looks to prevent a crime due to take place 27 years later intrigues the reading audience.

• a female friend of the victim investigates the crime of murder that occurred 23 years earlier intrigues the reading audience.

• a male journalist and unknown to most in the town, comes to research a murder that occurred 25 years earlier intrigues the audience.

• A man, former friend of the victim and journalist, returns to the town where a baffling murder took place 27 years earlier, determined to get to the bottom of the story intrigues the reading audience.

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CCSS.RL.5.6

CCSS.RL.6.6

CCSS.RL.7.6

CCSS.RL.8.6

The central action which shapes and informs every page of Chronicle of a Death Foretold is __________________________________________.

• the community's complicity in the hatred and murder of an elitist aristocrat.

• a mother's love of her son that is so deep and guilt-ridden that she failed to deter his murder that her life essentially ends with his murder.

• the murder of the twenty-one-year-old aristocrat, Santiago Nasar, by the Vicario brothers in a “legitimate defense” of their sister’s honor.

• the misogynistic treatment of working class woman by wealthy and elitist men.

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CCSS.RL.5.3

CCSS.RL.5.7

CCSS.RL.6.3

CCSS.RL.6.9

In the end, the question of whether Santiago Nasar actually deserved his fate

• is presented and agreed that he did not deserve to be murdered.

• is presented and agreed that he did deserve to be murdered.

• is presented but remains unanswered.

• is a cliff hanger that allows the reader to answer the question

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CCSS.RL.5.6

CCSS.RL.6.6

CCSS.RL.7.6

CCSS.RL.8.6

the tension between Santiago Nasar and the cook, Victoria Guzman, and her daughter Davina Flor when they are in the kitchen gutting a rabbit and Nasar grabs Davina's wrist stating that she must be tamed and Guzman warns him with a bloody knife as foreshadowing of

• the violence that will later befall Santiago and that fate is taunting the doomed Santiago.

• that Santiago is no saint as he abuses Davina and deserves his tragedy.

• the exchange reveals that Santiago is not exactly a saint, despite his name: he has often abused impressionable Divina Flor.

• His abuse of her is oddly ritualistic, in the sense that repeats a pattern established by his father.

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CCSS.RL.11-12.3

CCSS.RL.11-12.5

CCSS.RL.8.3

CCSS.RL.9-10.3

CCSS.RL.9-10.5

Why did Victoria Guzman and her daughter decline to warn Santiago Nasar that the Vicaro twins planned to murder him?

• they wanted to see him dead because he abused Davina and his father abused her mother Victoria.

• Victoria and Divina are the first characters with the opportunity to warn Santiago, and the first to decline that opportunity.

• they were both filled with fear, incredulity, and hatred andthis failure presents the reader with first insights into the greater community’s complicity in the crime.

• they did not want to lose their only way to earn a decent wage.

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CCSS.RI. 9-10.9

CCSS.RI.11-12.9

CCSS.RL.11-12.2

CCSS.RL.8.2

CCSS.RL.9-10.2

This first introduction to the killers portrays them as...

• not as particularly scheming or bloodthirsty, but as oddly casual, open, and even vulnerable.

• scheming and ruthless killers.

• loving brothers who are assassins that seek to kill for honor

• sloppy and feckless killers

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CCSS.RL.11-12.4

CCSS.RL.6.4

CCSS.RL.7.4

CCSS.RL.8.4

CCSS.RL.9-10.4

An underworld of trickery and hypocrisy is exposed in the female sphere, one that makes a mockery of the whole notion of honor on which the murder of Santiago Nasar is based. The raw physicality that permeates the life of the town and which surfaces in the raw and powerful language of the book points up the frailty of the concept of honor as it pertains to the protection of these village women who, when not contemptuous of it, are shown to be less protected than they are imprisoned by its punishing constraints.

• true

• false

• It is debatable; an analytical interpretation that is based on the descriptions from the novel.

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CCSS.RI. 9-10.9

CCSS.RI.11-12.9

CCSS.RL.11-12.2

CCSS.RL.8.2

CCSS.RL.9-10.2

The cult of machismo, seen in the riotous drinking, the prevalence of weapons, the casual boasting which, in this instance proves to be more than mere words, even the repressed anger of women who are victimized by the culture in which they live, all combine to ensure the murder of the young Nasar.

• reflects the inevitability of Nasar’s murder and becomes the most overwhelming aspect of the narrator’s investigation.

• reflects the animosity of the town's citizens against undeserving and womanizing elitists.

• reflects the nature of town dealing with cultural rituals that are hypocritical

• reflects the omen of his mother's dream.

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CCSS.RL.5.6

CCSS.RL.6.6

CCSS.RL.7.6

CCSS.RL.8.6