The following three paragraphs are from a literary analysis essay. What order
should they appear in?
1. In this 1925 novel, Fitzgerald creates sensory overload, filling his pages with
flamboyant descriptions of sound as well as overwhelming material beauty.
This sense of overwhelmingness is one way Fitzgerald suggests that great
riches are not entirely positive. Additionally, the shadowy filler characters who
lack personality and individuality demonstrate that overt affluence can attract
fortune seekers and prevent authentic friendships. The mysteriousness of
Gatsby himself draws a parallel to faceless American prosperity, and the final
tragedy leads the reader to question the purpose of affluence.
II. The fact that Fitzgerald approaches this issue from the standpoint of one
experiencing the prosperity of the Roaring '20s strengthens the potency of
this proclamation against the evils of excess wealth. His successful use of
flashy imagery and conformist characters clearly communicates a warning
against purposeless, directionless riches - a warning that modern-day
Americans would do well to heed.
III. As America has grown more prosperous as a nation, some have tried to
raise awareness of the dangers of excess wealth. That is exactly what F.
Scott Fitzgerald does in The Great Gatsby, which features a young millionaire
hungry for even more wealth and power. Vibrant sensory images and vague
characterization help Fitzgerald's novel succeed in making a radical social
statement concerning senseless wealth.

What favorite memory did the giver share with jonas? in the giver.

Read this excerpt from i never had it made. "it's all that ought to count," he replied. "but it isn't. maybe one of these days it will be all that counts. that is one of the reasons i've got you here, robinson. if you're a good enough man, we can make this a start in the right direction. but let me tell you, it's going to take an awful lot of courage." he was back to the crossroads question that made me start to get angry minutes earlier. he asked it slowly and with great care. "have you got the guts to play the game no matter what happens? " "i think i can play the game, mr. rickey," i said. the next few minutes were tough. branch rickey had to make absolutely sure that i knew what i would face. beanballs would be thrown at me. i would be called the kind of names which would hurt and infuriate any man. i would be physically attacked. could i take all of this and control my temper, remain steadfastly loyal to our ultimate aim? which is the central idea of this excerpt?

Select the correct text in the passage. in richard connell's short story "the most dangerous game," zaroffs aristocratic appearance and dignified manners mask his sinister, animalistic nature. which line from the excerpt best provides a glimpse into his true nature? rainsford's first impression was that the man was singularly handsome; his second was that there was an original, almost bizarre quality about the general's face. he was a tall man past middle age, for his hair was a vivid white; but his thick eyebrows and pointed military mustache were as black as the night from which rainsford had come. his eyes, too, were black and very bright. he had high cheekbones, a sharpcut nose, a spare, dark face-the face of a man used to giving orders, the face of an aristocrat. turning to the giant in uniform, the general made a sign. the giant put away his pistol, saluted, withdrew. "ivan is an incredibly strong fellow," remarked the general, "but he has the misfortune to be deaf and dumb. a simple fellow, but, i'm afraid, like all his race, a bit of a savage." "is he russian? " "he is a cossack," said the general, and his smile showed red lips and pointed teeth. "so am i." half apologetically general zaroff said, "we do our best to preserve the amenities of civilization here. forgive any lapses. we are well off the beaten track, you know." laughter shook the general. "how extraordinarily droll you are! " he said. "one does not expect nowadays to find a young man of the educated class, even in america, with such a naive, and, if i may say so, mid-victorian point of view. it's like finding a snuffbox in a limousine. ah, well, doubtless you