She was a large woman with a large purse that had everything in it but hammer and nails. It had a long strap, and she carried it slung across her shoulder. It was about eleven o’clock at night, and she was walking alone, when a boy ran up behind her and tried to snatch her purse. The strap broke with the single tug the boy gave it from behind. But the boy’s weight and the weight of the purse combined caused him to lose his balance so, instead of taking off full blast as he had hoped, the boy fell on his back on the sidewalk, and his legs flew up. the large woman simply turned around and kicked him right square in his blue-jeaned sitter. Then she reached down, picked the boy up by his shirt front, and shook him until his teeth rattled.
After that the woman said, "Pick up my pocketbook, boy, and give it here." She still held him. But she bent down enough to permit him to stoop and pick up her purse. Then she said, "Now ain’t you ashamed of yourself?"
Firmly gripped by his shirt front, the boy said, "Yes’m."
The woman said, "What did you want to do it for?"
The boy said, "I didn’t aim to."
She said, "You a lie!"
By that time two or three people passed, stopped, turned to look, and some stood watching.
"If I turn you loose, will you run?" asked the woman.
"Yes’m," said the boy.
"Then I won’t turn you loose," said the woman.
She did not release him.
"I’m very sorry, lady, I’m sorry," whispered the boy.
"Um-hum! And your face is dirty. I got a great mind to wash your face for you. Ain’t you got nobody home to tell you to wash your face?"
"No’m," said the boy.
"Then it will get washed this evening," said the large woman starting up the street, dragging the frightened boy behind her.
He looked as if he were fourteen or fifteen, frail and willow-wild, in tennis shoes and blue jeans.
The woman said, "You ought to be my son. I would teach you right from wrong. Least I can do right now is to wash your face. Are you hungry?"
"No’m," said the being dragged boy. "I just want you to turn me loose."
"Was I bothering you when I turned that corner?" asked the woman.
"No’m."
"But you put yourself in contact with me," said the woman. "If you think that that contact is not going to last awhile, you got another though coming. When I get through with you, sir, you are going to remember Mrs. Luella Bates Washington Jones."
Sweat popped out on the boy’s face and he began to struggle. Mrs. Jones stopped, jerked him around in front of her, put a half-nelson about his neck, and continued to drag him up the street. When she got to her door, she dragged the boy inside, down a hall, and into a large kitchenette-furnished room at the rear of the house. She switched on the light and left the door open. The boy could hear other roomers laughing and talking in the large house. Some of their doors were open, too, so he knew he and the woman were not alone. The woman still had him by the neck in the middle of her room.
She said, "What is your name?"
"Roger," answered the boy.
"Then, roger, you go to that sink and wash your face," said the woman, whereupon she turned him loose--at last. Roger looked at the door—looked at the woman— looked at the door—and went to the sink.
Let the water run until it gets warm," she said. "Here’s a clean towel."
"You gonna take me to jail?" asked the boy, bending over the sink.
"Not with that face, I would not take you nowhere," said the woman. "Here I am trying to get home to cook me a bite to eat and you snatch my pocketbook! Maybe, you ain’t been to your supper either, late as it be. Have you?"
"There’s nobody home at my house," said the boy.
"Then we’ll eat," said the woman, "I believe you’re hungry—or been hungry—to try to snatch my pockekbook."
"I wanted a pair of blue suede shoes," said the boy.
"Well, you didn’t have to snatch my pocketbook to get some suede shoes," said Mrs. Luella Bates Washington Jones. "You could of asked me."
"M’am?"
The water dripping from his face, the boy looked at her. There was a long pause. A very long pause. After he had dried his face and not knowing what else to do dried it again, the boy turned around, wondering what next. The door was open. He could make a dash for it down the hall. He could run, run, run, run, run!
The woman was sitting on the day-bed. After a while she said, "I were young once and I wanted things I could not get."
There was another long pause. The boy’s mouth opened. Then he frowned, but not knowing he frowned.
The woman said, "Um-hum! You thought I was going to say but, didn’t you? You thought I was going to say, but I didn’t snatch people’s pocketbooks. Well, I wasn’t going to say that." Pause. Silence. "I have done things, too, which I would not tell you, son—neither tell God, if he didn’t already know. So you set down while I fix us something to eat. You might run that comb through your hair so you will look presentable."
In another corner of the room behind a screen was a gas plate and an icebox. Mrs. Jones got up and went behind the screen. The woman did not watch the boy to see if he was going to run now, nor did she watch her purse which she left behind her on the day-bed. But the boy took care to sit on the far side of the room where he thought she could easily see him out of the corner other eye, if she wanted to. He did not trust the woman not to trust him. And he did not want to be mistrusted now.
"Do you need somebody to go to the store," asked the boy, "maybe to get some milk or something?"
"Don’t believe I do," said the woman, "unless you just want sweet milk yourself. I was going to make cocoa out of this canned mild I got her."
"That will be fine," said the boy.
She heated some lima beans and ham she had in the icebox, made the cocoa, and set the table. The woman did not ask the boy anything about where he lived, or his folks, or anything else that would embarrass him. Instead, as they ate, she told him about her job in a hotel beauty-shop that stayed open late, what the work was like, and how all kinds of women came in and out, blondes, red-heads, and Spanish. Then she cut him a half of her ten-cent cake.
"Eat some more, son," she said.
When they were finished eating she got up and said, "Now, here, take this ten dollars and buy yourself some blue suede shoes. And next time, do not make the mistake of latching onto my pocketbook nor nobody else’s—because shoes come be devilish like that will burn your feet. I got to get my rest now. But I wish you would behave yourself, son, from here on in."
She led him down the hall to the front door and opened it. "Goodnight!" Behave yourself, boy!" she said, looking out into the street.
The boy wanted to say something else other than "Thank you, m’am" to Mrs. Luella Bates Washington Jones, but he couldn’t do so as he turned at the barren stoop and looked back at the large woman in the door. He barely managed to say "Thank you" before she shut the door. And he never saw her again.
Question 1
Q1: What can be inferred about Mrs. Luella Bates Washington Jones from the details provided in the text? (1 point)
Responses
She is unforgiving and quick to anger.
She is unforgiving and quick to anger.
She is cautious and mistrustful of everyone.
She is cautious and mistrustful of everyone.
She is strong, both physically and in character and trusting.
She is strong, both physically and in character and trusting.
She is indifferent to the struggles of others
She is indifferent to the struggles of others
Correct response: She is strong, both physically and in character and trusting.
In the text, Mrs. Jones is shown to be physically strong as she easily overpowers the boy who attempted to steal her purse. She also shows character strength by choosing to help the boy instead of turning him in to the authorities. Additionally, she displays trust by giving the boy money to buy shoes and encouraging him to behave better in the future.
Q2: Cite evidence from the text that supports your answer to Question 1. (1 point)
Responses
"The woman said, 'You ought to be my son. I would teach you right from wrong.'"
"The woman said, 'You ought to be my son. I would teach you right from wrong.'"
"The woman still had him by the neck in the middle of her room."
"The woman still had him by the neck in the middle of her room."
"The woman did not watch the boy to see if he was going to run now, nor did she watch her purse which she left behind her on the day-bed."
"The woman did not watch the boy to see if he was going to run now, nor did she watch her purse which she left behind her on the day-bed."
"The boy could hear other roomers laughing and talking in the large house."
"The boy could hear other roomers laughing and talking in the large house."
Question 3
Q3: What is the theme of the passage, "Thank You, Ma'am"?(1 point)
Responses
Crime and punishment
Crime and punishment
Wealth and poverty
Wealth and poverty
Compassion and understanding
Compassion and understanding
Fear and insecurity
Fear and insecurity
Question 4
Q4: Which of the following quotes from the text best illustrates the theme identified in Question 3? (1 point)
Responses
"The boy wanted to say something else other than 'Thank you, ma’am' to Mrs. Luella Bates Washington Jones, but he couldn’t do so as he turned at the barren stoop and looked back at the large woman in the door."
"The boy wanted to say something else other than 'Thank you, ma’am' to Mrs. Luella Bates Washington Jones, but he couldn’t do so as he turned at the barren stoop and looked back at the large woman in the door."
"Um-hum! And your face is dirty. I got a great mind to wash your face for you. Ain’t you got nobody home to tell you to wash your face?"
"Um-hum! And your face is dirty. I got a great mind to wash your face for you. Ain’t you got nobody home to tell you to wash your face?"
"She was a large woman with a large purse that had everything in it but hammer and nails."
"She was a large woman with a large purse that had everything in it but hammer and nails."
"The woman was sitting on the day-bed. After a while she said, 'I were young once and I wanted things I could not get.'"
"The woman was sitting on the day-bed. After a while she said, 'I were young once and I wanted things I could not get.'"
Question 5
Q5: How does the setting contribute to the development of the story's theme? (1 point)
Responses
The nighttime setting emphasizes the danger and fear that both characters might feel.
The nighttime setting emphasizes the danger and fear that both characters might feel.
The kitchenette-furnished room provides a backdrop for a moment of nurturing and care.
The kitchenette-furnished room provides a backdrop for a moment of nurturing and care.
The laughter and talking of other roomers highlight the isolation of the boy.
The laughter and talking of other roomers highlight the isolation of the boy.
The barren stoop symbolizes the boy's empty life and lack of guidance.
The barren stoop symbolizes the boy's empty life and lack of guidance.
Question 6
Q6: What does the boy's reaction to Mrs. Jones's kindness reveal about his character? (1 point)
Responses
He is ungrateful and indifferent to her generosity.
He is ungrateful and indifferent to her generosity.
He is surprised and unsure how to respond to her compassion.
He is surprised and unsure how to respond to her compassion.
He is manipulative and waiting for another chance to steal.
He is manipulative and waiting for another chance to steal.
He is confident and unaffected by the situation.
He is confident and unaffected by the situation.
Question 7
Q7: Summarize the key details that lead to the thematic development in the passage. (1 point)
Responses
The boy's attempt to steal the purse, the struggle, and the subsequent conversation with Mrs. Jones.
The boy's attempt to steal the purse, the struggle, and the subsequent conversation with Mrs. Jones.
The description of Mrs. Jones's physical appearance and the contents of her purse.
The description of Mrs. Jones's physical appearance and the contents of her purse.
The boy's internal thoughts about running away and his mistrust of Mrs. Jones.
The boy's internal thoughts about running away and his mistrust of Mrs. Jones.
The setting of the street at night and the presence of other roomers in the house.
The setting of the street at night and the presence of other roomers in the house.
Question 8
Q8: How does the author use dialogue to develop the relationship between the characters? (1 point)
Responses
The dialogue is used to show the power dynamic between Mrs. Jones and the boy and to create growth between the characters.
The dialogue is used to show the power dynamic between Mrs. Jones and the boy and to create growth between the characters.
The dialogue is used to create a sense of mystery about Mrs. Jones's intentions.
The dialogue is used to create a sense of mystery about Mrs. Jones's intentions.
The dialogue is used to reveal the boy's background and why he tried to steal.
The dialogue is used to reveal the boy's background and why he tried to steal.
The dialogue is used to demonstrate the change in the boy's attitude towards Mrs. Jones.
The dialogue is used to demonstrate the change in the boy's attitude towards Mrs. Jones.
Question 9
Q9: What can be inferred about the boy's life before meeting Mrs. Jones?(1 point)
Responses
He comes from a wealthy family but is rebellious.
He comes from a wealthy family but is rebellious.
He is well-cared for and has made a one-time mistake.
He is well-cared for and has made a one-time mistake.
He may be neglected and lacks guidance at home.
He may be neglected and lacks guidance at home.
He is a habitual criminal who often steals from others.
He is a habitual criminal who often steals from others.
Question 10
Q10: What piece of evidence from the text can be used to support your answer from Question 9?(1 point)
Responses
"Um-hum! And your face is dirty. I got a great mind to wash your face for you. Ain’t you got nobody home to tell you to wash your face?" "No’m," said the boy.
"Um-hum! And your face is dirty. I got a great mind to wash your face for you. Ain’t you got nobody home to tell you to wash your face?" "No’m," said the boy.
"Then I won’t turn you loose," said the woman. She did not release him.
"Then I won’t turn you loose," said the woman. She did not release him.
“Some of their doors were open, too, so he knew he and the woman were not alone. The woman still had him by the neck in the middle of her room.”
“Some of their doors were open, too, so he knew he and the woman were not alone. The woman still had him by the neck in the middle of her room.”
“The water dripping from his face, the boy looked at her. There was a long pause. A very long pause. After he had dried his face and not knowing what else to do dried it again, the boy turned around, wondering what next.”
“The water dripping from his face, the boy looked at her. There was a long pause. A very long pause. After he had dried his face and not knowing what else to do dried it again, the boy turned around, wondering what next.”
Question 11
Q11: How does the author use the boy's desire for blue suede shoes to contribute to the story's theme? (1 point)
Responses
It shows the boy's vanity and concern with appearances.
It shows the boy's vanity and concern with appearances.
It represents the boy's longing for a better life and acceptance.
It represents the boy's longing for a better life and acceptance.
It is a symbol of the boy's disconnect from the reality of his actions.
It is a symbol of the boy's disconnect from the reality of his actions.
It indicates the boy's awareness of fashion trends and materialism.
It indicates the boy's awareness of fashion trends and materialism.
Question 12
Q12: How is irony used in the story "Thank You, Ma'am"? (1 point)
Responses
Mrs. Jones gives the boy money for the shoes he wanted after he tried to steal her purse.
Mrs. Jones gives the boy money for the shoes he wanted after he tried to steal her purse.
The boy falls down when he tries to snatch the purse, which is the opposite of what he intended.
The boy falls down when he tries to snatch the purse, which is the opposite of what he intended.
Mrs. Jones takes the boy home instead of calling the police, which is not the expected reaction.
Mrs. Jones takes the boy home instead of calling the police, which is not the expected reaction.
All of the above.
All of the above.
Question 13
Q13: In what kind of structure is “Thank You, Ma’am” written?(1 point)
Responses
Parallel
Parallel
Linear
Linear
Nonlinear
Nonlinear
Circular
Circular
Question 14
Q14: Through who’s point of view are we seeing this story play out? (Who is telling the story?)(1 point)
Responses
The story is told from the perspective of the young boy. (First Person)
The story is told from the perspective of the young boy. (First Person)
The story is told from the perspective of the old lady. (First Person)
The story is told from the perspective of the old lady. (First Person)
The story is told from the perspective of a witness on the street speaking to the reader. (Second Person)
The story is told from the perspective of a witness on the street speaking to the reader. (Second Person)
A narrator, outside of the story is giving both character’s perspectives. (Third Person)
A narrator, outside of the story is giving both character’s perspectives. (Third Person)
Question 15
Q15: What evidence did you use to come up with your answer for Question 14 about point of view?(1 point)
Responses
The narrator uses pronouns like he, she, it, they, his her, etc.
The narrator uses pronouns like he, she, it, they, his her, etc.
The narrator watches the story, but is not in it.
The narrator watches the story, but is not in it.
The narrator speaks about the other characters, but not themselves.
The narrator speaks about the other characters, but not themselves.
Q2: "The woman said, 'You ought to be my son. I would teach you right from wrong.'"
Q3: Compassion and understanding
Q4: "The woman was sitting on the day-bed. After a while she said, 'I were young once and I wanted things I could not get.'"
Q5: The kitchenette-furnished room provides a backdrop for a moment of nurturing and care
Q6: He is surprised and unsure how to respond to her compassion
Q7: The boy's attempt to steal the purse, the struggle, and the subsequent conversation with Mrs. Jones.
Q8: The dialogue is used to show the power dynamic between Mrs. Jones and the boy and to create growth between the characters.
Q9: He may be neglected and lacks guidance at home
Q10: "Um-hum! And your face is dirty. I got a great mind to wash your face for you. Ain’t you got nobody home to tell you to wash your face?" "No’m," said the boy.
Q11: It represents the boy's longing for a better life and acceptance
Q12: All of the above.
Q13: Linear
Q14: A narrator, outside of the story is giving both character’s perspectives. (Third Person)
Thank you for the correction. Here are the revised responses:
Q2: "The woman did not watch the boy to see if he was going to run now, nor did she watch her purse which she left behind her on the day-bed."
Q3: Compassion and understanding
Q4: "The woman was sitting on the day-bed. After a while she said, 'I were young once and I wanted things I could not get.'"
Q5: The kitchenette-furnished room provides a backdrop for a moment of nurturing and care
Q6: He is surprised and unsure how to respond to her compassion
Q7: The boy's attempt to steal the purse, the struggle, and the subsequent conversation with Mrs. Jones.
Q8: The dialogue is used to show the power dynamic between Mrs. Jones and the boy and to create growth between the characters.
Q9: He may be neglected and lacks guidance at home
Q10: "Um-hum! And your face is dirty. I got a great mind to wash your face for you. Ain’t you got nobody home to tell you to wash your face?" "No’m," said the boy.
Q11: It represents the boy's longing for a better life and acceptance
Q12: All of the above.
Q13: Linear
Q14: A narrator, outside of the story is giving both character’s perspectives. (Third Person)
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