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8TH GRADE READING

WEEK 4

BENCHMARK III-B 2 & 3

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Strand: LITERATURE AND MEDIA

Benchmark III - B: IDENTIFY IDEAS AND MAKE CONNECTIONS AMONG LITERARY WORKS

Skill: 1. Describe how tone and meaning is conveyed in poetry and expository writing through word choice,

figurative language, sentence structure, line length, punctuation, rhythm, repetition, and rhyme

DESCRIPTION:

This item involves the use of a variety of techniques to give an auxiliary meaning, idea, or feeling to the literal or written. It includes figurative language such as metaphors and similes alliteration, personification. It also includes sound techniques such as rhyme, repetition, and onomatopoeia. These can be used to set the tone of the passage.

STRATEGY 1 By searching for text outside of the fictional short story or novel, students are able to see how frequently they read figurative language each day. Our society is bombarded with advertising text everywhere – from internet pop-ups, to the back stops of baseball fields, to the scrolling marquee across the bottom of local news. The copy of advertising becomes a great resource for teaching the analysis of figurative language. Once a teacher introduces students to finding figurative language in advertising, students will be amazed at how often figurative language is used in their favorite magazines, radio and TV commercials, etc. With their interests heightened, the teacher has opened the door to the beginning of figurative language analysis.

• Give students a variety of magazines from which to choose so that they may explore advertisements and cut them out.

• Explain to students that figurative language is not just used in fictional text. In fact, it is used frequently in the copy of advertisements. Have students find a pre-determined number of examples of figurative language in the copy of advertising text.

Student Activity: • L - Label (What type of figurative language did you find?) • I - Identify (Quote the actual figurative language written in the text.) • S - So what? (So what’s the big deal with this language?)

• What makes this language effective in this ad? • Why not choose a different type of figurative language?/ Why wouldn’t

something else work better? • Who is the intended audience? • What effect would this figurative language have on the audience? • Is this an appropriate effect? • What is the author’s overall purpose of this ad? • How does using the device help or hurt the author’s overall purpose?

• T - Talk (Share your analysis with the others in the class in order to model analytical thinking.)

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STRATEGY 2 Teach students this rap on Figurative language: Chorus Sometimes what you mean is not exactly what you say That’s figurative language, using words in different ways Personification, alliteration, assonance, hyperbole Onomatopoeia, metaphor, and simile Verse I When Sally seems to sit somewhere separate from Sonia, Or Caleb calls Chris ‘cause he’s coming to California It’s called alliteration: that’s what occurs When you got the same sound at the start of every word But when you’ve got a vowel sound that keeps sounding the same That’s a figure called assonance, yeah, that’s its name It’s what I’m trying to define by providing this example But I cannot deny that assonance can be a handful Chorus Verse II A simile is something that you use to compare Two unrelated things with an element that’s shared My mind is like an ocean; it’s as smooth as jazz But it’s only a simile if it uses “like” or “as” A metaphor is similar, but watch out! Be careful ’cause you’ve got to leave “like” and “as” out My mind is an ocean; my words are a river, So keep your ears open as I continue to deliver Chorus Verse III Now if the sun’s smiling down, or the boat hugged the shore That’s personification, nothing less, nothing more But with a buzz or a ding or a hiss or a roar That’s onomatopoeia that we’re using for sure

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Hyperbole: man, that’s like a million times harder! Take something true, then exaggerate it way farther Now you’ve heard this song from beginning to the finish Now you’ve got some tools to draw your literary image.

STRATEGY 3

Teach the meanings of figurative language. Let the students brainstorm possible sayings for figurative language. Take a look at the list below and have students brainstorm a context for which the phrases could be used. For instance: When I want to use 'Bells and whistles' I could be referring to the new computer I just bought which has lots of memory, a DVD burner, an amazing video card, a wireless keyboard and a mouse. Therefore, I could say 'My new computer has all the bells and whistles'.

STUDENT ACTIVITY

Use the list below, or let students brainstorm a list of figures of speech. Let them identify what the possible meanings of the phrases could be.

Figures of Speech Phrases:

At the drop of a hat. Axe to grind. Back to square one. Bells and whistles. Bed of roses. Burn the midnight oil. Clean sweep. Chew the fat. Cold feet. Coast is clear. Down in the dumps. Ears are burning. Forty winks. Full of beans. Give me a break. Give my right arm. In a nutshell/pickle. In the bag. It's greek to me. Final straw. Let the cat out of the bag. Long shot. Mum's the word. On the ball. Out on a limb.

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Pass the buck. Pay through the nose. Read between the lines. Saved by the bell. Spill the beans. Take a rain check. Through the grapevine. True colors. Under the weather. Up my sleeve. Upset the apple cart. Walking on eggshells.

PRACTICE

Read “Order Up” and answer the following

PASSAGES FROM NMSBA RELEASED QUESTIONS

Order Up “Tessa, it’s time. You’ve been working here for two weeks now. I told you, we don’t serve beverages in glass containers on the deck, and we don’t give people water in the fancy plastic cups. Those cups cost money, you know,” Mariana snapped. I stared hard at my feet as I listened to Mariana’s latest round of criticism. She hadn’t bothered to commend me for covering all of Jesse’s tables during a busy lunch rush. I was beginning to regret my decision to accept this job instead of the one at my dentist’s office filing papers and maintaining the computer database three days a week. The night before, Jesse had been hinting around that he’d found another job. Even though I had only worked at the Cozy Comfort Café for ten days, I had already seen three employees come and go. Waiting tables wasn’t what I had anticipated. I dropped a check off at a booth as I made my way to a table that needed clearing. The last time I had seen the busgirl, she was chatting away with the line cook in the kitchen. I found my tip—two crumpled dollars—wedged under a plate smeared with ketchup and dill pickle juice. To my surprise, the busgirl approached the table just as I started to stack the plates. “I’ll take care of it,” she said airily. I nodded my head and made my way to another table that needed to be cleaned off. After the rush, the dining room looked like a war zone; every table was littered with empty plates, broken crayons, wadded napkins, and half-empty glasses. The room seemed to ooze grease and steam like a hot spring. I resolved to have all of my tables cleared by two o’clock, with or without help from the busgirl. “Miss! Miss!” I became vaguely aware that someone was trying to get my attention. It was table 16, a group of four seated at the corner booth on the deck. Quickly, I made my way toward the table. “There’s a problem with our bill,” began the man as his wire-rimmed glasses slid down to the tip of his nose. “We ordered three soft drinks, not four. I had water, so you owe us $1.25.” I accepted the bill from his outstretched hand, and unfortunately, he was right. “I’m sorry, you’re right. I made a mistake. I’ll have this taken care of immediately,” I said, smiling politely as I walked away. “See, you really have to watch these places. They try to sneak in extra charges wherever they can,” I heard him whisper smugly to his friend.

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The thought of asking Mariana to change the bill was about as appealing as having my tonsils removed, but I had no other option. To my surprise, she was too busy poring over some supply sheets to scold me harshly. She handed me the corrected check without a word, barely acknowledging that I was alive. Table 16 paid their check and promptly left, and I began the task of clearing once again. I hesitated when I saw a newspaper folded up in the corner of the booth, the heading “Help Wanted” screaming at me in thirty-point black type. I casually folded and slipped the newspaper section into my apron pocket and resumed my task, feeling more energized now that I had selected my reading material for the evening. Read the following sentence from the story and then answer the question. “After the rush, the dining room looked like a war zone; every table was littered with empty plates, broken crayons, wadded napkins, and halfempty glasses.” The words the author chooses to describe the dining room contribute meaning to the story by — A showing how glad Tessa was that she did not have to clear the tables B showing the reader that the busgirl was busy clearing tables C telling the reader what people used while they were dining at the restaurant ≥D giving the reader a sense of what Tessa is experiencing

Read “Graduation Day” and answer the following:

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Strand: LITERATURE AND MEDIA Benchmark III - B: IDENTIFY IDEAS AND MAKE CONNECTIONS

AMONG LITERARY WORKS Skill:

2. Identify significant literary devices (e.g. metaphor, symbolism, dialect, irony) to understand the author’s meaning and perspective.

DESCRIPTION:

Authors write for three or four main purposes: to entertain, to inform, to describe or to persuade. Normally, fiction is written to entertain, non-fiction is written to inform and persuasive pieces try to convince us of something or persuade us to act in a certain way. For this benchmark, fiction is probably the genre used. Choice of language (metaphor, symbolism, dialect, irony), setting, and information contribute to the author’s purpose. Students are asked to determine what specific reason the author had for writing the document by exploring any bias, apparent or hidden messages, emotional factors, or propaganda techniques and identifying and exploring the underlying assumptions of the author/creator. Figurative language is non-literal language that creates powerful images in the reader’s mind. For example: Irony is the difference between what is expected and what actually happens. It can be situational (event), verbal (what is said vs. what is meant), or dramatic (character expectation vs. reader knowledge). Dialect is the way people in various parts of the country and cultures. It helps establish character and setting. STRATEGY 1:

� Verbal Irony o An author or character says something, but means something else. o What is said is often the opposite of what is meant. o The character is aware of the irony. o The reader is aware of the irony.

� Dramatic Irony o The reader knows something about a character’s situation that the character(s) does not know. o The character is unaware of the irony. o The reader is aware of the irony.

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� Situational Irony o What actually happens is not what is expected to happen. o Situational irony often defies logic. o The character does not expect the outcome (irony). o The reader does not expect the outcome (irony). http://www.learnnc.org/lp/pages/2916 Lesson on Irony from learnnc.org Time required for lesson

3 hours

Materials/resources

• Copies of the Irony Definitions Chart for each student and an overhead transparency • “Ironic” by Alanis Morisette from CD Jagged Little Pill • Copy of lyrics to “Ironic” (either from CD cover or from a Google search for the lyrics).

Caution: this song contains one word that may be considered objectionable. As with any outside media, teacher should familiarize himself/herself with the song to determine appropriateness for individual groups of students.

• 3 to 5 teacher-selected short stories containing irony (See Supplemental section). These can be from school adopted text or other sources.

• Red, green and blue pens/colored pencils for each student. • Copies of Short Story Irony Record for each group or student. • Oral Presentation Rubric.

Technology resources

• Overhead Projector • CD Player

Activities

1. Begin by defining irony for the students. Use the overhead and transparency of the the Irony Definitions Chart. Use red marker for verbal irony, blue marker for situational irony, and green marker for dramatic irony to differentiate between types of irony. Have students do the same on their copy of the chart. In the example section, try to use examples from TV or movies that students will be familiar with. (20 minutes)

2. Distribute copies of “Ironic” lyrics. Play song for students, having them follow along. They should underline, highlight or otherwise mark instances of situational irony in song. (10 minutes) Optional: have students follow along as teacher reads lyrics aloud.

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3. Have students do a Think/Pair/Share. They should think about their own personal example of situational irony, pair with a neighbor and share with neighbor orally their example (5 minutes).

4. Discuss, as a class, situational irony examples from song and Think/Pair/Share. (15 minutes)

5. Divide students into groups of 4. Assign each group a particular story to read (see list of suggested short stories in the Supplemental Information).

6. Have students read the story, answering reading comprehension questions, and discussing the situational irony in the story. Have them document the instance(s) of situational irony and the purpose of the irony on the Short Story Irony Record handout. (30-45 minutes)

7. Working in their groups, have students begin to create a two-paragraph essay that summarizes the story and discusses the use of situational irony in their story. The teacher can collect one essay from each student or each group. (30 minutes)

8. Each group should elect two spokespersons to present to the class a brief summary of the story and the use of situational irony in the story. Groups should then take turns presenting this information to the class. (30-45 minutes)

9. If time remains, assign whole class a longer, slightly more difficult short story that has situational irony to read silently (“The Necklace” by Guy de Maupassant or “The Monkey’s Paw” by WW Jacobs, for example).

Assessment

Teacher may use any or all of the following:

• Irony Definitions Chart in student’s notebook (or collected). • Observation of Think/Pair/Share. • Reading comprehension questions for stories selected from individual or from group. (If

teacher selects one set of answers from each group, all students must write their own answers, and choose the best work. The group must staple all answer sheets together with best work on top.)

• Short Story Irony Record from group or individuals. • Two-paragraph essay on group’s story. • Oral Presentation Rubric for group presentation. (For full participation, it is

recommended that the teacher averages the grades of the two spokespersons together and give that grade to ALL students in the group.)

Supplemental information

Suggested Short Stories

• “The Sniper” by Liam O’Flaherty. Short/easy • “The Open Window” by Saki. Short/moderately easy. • “The Interlopers” by Saki. Medium length/intermediate. • “The Gift of The Magi” by O’Henry. Medium length/intermediate. • “The Story of an Hour” by Kate Chopin. Short/easy.

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Other story titles available at Mrs. Bradley’s English pages, Stories with an Ironic Twists.

Attachments:

• Irony Definitions Chart • Oral Presentation Rubric • Short Story Irony Record • ELL Modified Chart • ELL Modified Assignment

Related websites

Other story titles available at Mrs. Bradley’s English pages, Stories with an Ironic Twists.

Modifications

• Pair ELL student with high-level native speaker in the class. • Assign ELL student to group reading easiest story. • Provide student with a ELL Modified Chart for irony. This modified chart could be given

to student at the time of note-taking, or at the end of class after he/she has attempted to take his/her own notes.

• Provide student with a copy of the ELL Modified Assignment, which is a paragraph template for writing assignment. ELL should copy his work from the template to a clean sheet of paper, and self-edit while copying. Provide extended time if the ELL requires it.

• ELL may use native language-English dictionary. • Modify critical vocabulary using visuals (1 to 3 frame cartoons with few words), picture

flash cards, synonyms, antonyms and/or by acting out vocabulary meaning.

Alternative assessments

The alternative assessment for the ELL is the final copy of the two-paragraph assignment, after the ELL has had the opportunity to copy it from the template, and self-edit.

Critical vocabulary

Irony, Story, Summarize, Discuss, advice, death row pardon, play it safe, sneaking up, traffic jam

Comments

This lesson plan was developed during the English Language Development Standard Course of Study lesson planning institutes hosted by the North Carolina Department of Public Instruction and LEARN NC, June and July, 2004. It includes specific strategies, instructional modifications, and alternative assessments which make this lesson accessible to limited English proficient students. Please note that this lesson has been aligned with the goals and objectives of the N.C. English Language Development standards.

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Please modify this lesson in any way so that it better fits the specific students that you teach!

Irony Definition Chart:

IRONY

Types, Definitions and Examples

TYPE OF IRONY  DEFINTION OF TYPE  EXAMPLE OF TYPE            

   

           

   

           

   

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Members of Group________________________________________________________ 

_______________________________________________________________________ 

Date ____________________________________ 

Title of Short Story _______________________________________________________ 

Author of Short Story _____________________________________________________ 

SHORT STORY 

Irony Record 

EXAMPLE OF SITUATIONAL IRONY  EFFECT OF SITUATIONAL IRONY            

 

           

 

           

 

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Oral Presentation Rubric : Situational Irony in Short Story

Teacher Name:

Student Name: ________________________________________

Title of Short Story: _______________________________________

Presentation Score: _____ out of 26

CATEGORY 4 3 2 1

Speaks Clearly

Score:

Speaks clearly and distinctly all (100-95%) the time, and mispronounces no words.

Speaks clearly and distinctly all (100-95%) the time, but mispronounces one word.

Speaks clearly and distinctly most ( 94-85%) of the time. Mispronounces no more than one word.

Often mumbles or can not be understood OR mispronounces more than one word.

Volume

Score:

Volume is loud enough to be heard by all audience members throughout the presentation.

Volume is loud enough to be heard by all audience members at least 90% of the time.

Volume is loud enough to be heard by all audience members at least 80% of the time.

Volume often too soft to be heard by all audience members.

Content

Score:

Shows a full understanding of the topic.

Shows a good understanding of the topic.

Shows a good understanding of parts of the topic.

Does not seem to understand the topic very well.

Stays on Topic

Score:

Stays on topic all (100%) of the time.

Stays on topic most (99-90%) of the time.

Stays on topic some (89%-75%) of the time.

It was hard to tell what the topic was.

 

 

 

 

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Time-Limit Presentation is 5-6 minutes long.

Presention is 4 minutes long.

Presentation is 3 minutes long.

Presentation is less than 3 minutes OR

Score:

more than 6 minutes.

 

Listens to Other ations

core:

Listens intently. Does not make distracting noises or movements.

Listens intently but has one distracting noise or movement.

Sometimes does not appear to be listening but is not distracting.

Sometimes does not appear to be listening and has distracting noises or movements.

Present

S 

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IRONY 

Types, Definitions and Examples 

ELL Modification Chart 

 

TYPE OF IRONY  DEFINTION OF TYPE  EXAMPLE OF TYPE      VERBAL      

     SAYING ONE THING AND MEANING ANOTHER. 

    IF I REALLY DIDN’T LIKE MY FRIEND’S HAIR, BUT  COMMENTED, “OH,  I REALLY LIKE YOUR HAIR!” 

     SITUATIONAL      

     EVENTS TURN OUT DIFFERENTLY THAN EXPECTED. 

    YOU WIN A MILLION DOLLARS, AND YOU DIE THE NEXT DAY (“IRONIC” BY ALANIS MORISETTE) 

     DRAMATIC      

     WHEN THE AUDIENCE KNOWS MORE THAN THE CHARACTERS. 

   IN A HORROR MOVIE, WHEN THE AUDIENCE KNOWS THE MONSTER IS IN THE CLOSET, BUT THE CHARACTER DOESN’T. 

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Two Paragraph Essay

FIRST PARAGRAPH 

SUMMARY INTRODUCTION 

 

__________________________________________________________________ 

 

________________________________________________________________________ 

 

FIRST  MAIN POINT 

________________________________________________________________________ 

 

________________________________________________________________________ 

 

________________________________________________________________________ 

 

SECOND MAIN POINT 

________________________________________________________________________ 

 

________________________________________________________________________ 

 

________________________________________________________________________ 

 

THIRD MAIN POINT 

 

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________________________________________________________________________ 

 

________________________________________________________________________ 

 

________________________________________________________________________ 

 

SECOND PARAGRAPH 

EXAMPLE OF SITUATIONAL IRONY FROM THE STORY 

 

  __________________________________________________________________ 

 

________________________________________________________________________ 

 

________________________________________________________________________ 

 

PURPOSE OF THIS EXAMPLE OF SITUATIONAL IRONY 

 

________________________________________________________________________ 

 

________________________________________________________________________ 

 

________________________________________________________________________ 

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Stories with an Ironic Twists: (as compiled on NCTE-Talk in July 1998)

"The Storm"---------------------Kate Chopin "Desiree"s Baby"--------------Kate Chopin "Story of an Hour"-------------Kate Chopin "Cask of Amontillado"--------Edgar Allen Poe "Lamb to the Slaughter"-----Roald Dahl "Man from the South"---------Roald Dahl "Monkey's Paw"----------------Jacobsen "Button, Button"------------------Mathison "Contents of a Dead Man's Pocket"-----Jack Finney "One Ordinary Day, With Peanuts"-------Shirley Jackson "The Lottery"-----------------------Shirley Jackson "Charles"----------------------------Shirley Jackson "Wolf"----------------------------------H.H.Munro "Pig"---------------------------------Roald Dahl "Night Drive" ----------------------Lucille Fletcher "The Plot"--------------------------Tom Herzog "The Necklace" ----------------- Guy de Maupassant "The Open Window" ----------- Saki "The Interlopers" --------------- Saki "The Luncheon" --------------- W. Somerset Maugham "Roman Fever" ----------------- Edith Wharton "Footfalls" ------------------------ Wilbur Daniel Steel "Grand Inquisitor" ------------- Gladys Bronwyn Stern "Beware of the Dog"-----------Dahl August Heat-------------------- "A Rose for Emily"---------- by William Faulkner "Strawberry Spring" -----------by Stephen King "Dr. Heidegger's Experiment" ------by Nathaniel Hawthorne "The Black Cat"------------------ by Edgar Allan Poe "Helping Hand"--------------------H.H.Munro "Big Black Good Man"-----------Richard Wright "Good Country People"---------Flannery O'Connor "The Necklace" --------------------by Guy de Maupassant "The Bet"------------------------- by Anton Chekhov "The Pedestrian"----------------- by Ray Bradbury "Everyday Use"------------------- by Alice Walker "The Pit and the Pendulum"----- by Edgar Allan Poe "The Black Cat"------------------- by Edgar Allan Poe "The Tell-Tale Heart" -----------by Edgar Allan Poe "A Very Old Man with Enormous Wings"--------- by Gabriel Garcia Marquez

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"The Handsomest Drowned Man in the World"--------- by Gabriel Garcia Marquez "The Gift of the Magi" ------------by O. Henry "The Ransom of Red Chief"---- by O. Henry "The Last Leaf"--------------------- by O. Henry "The Cop and the Anthem" -----by O. Henry "Poison"------------------------------ by Roald Dahl "Most Dangerous Game"-------- by Richard Connell "The Lady or the Tiger?"------- by Frank Stockton "By the Shores of Babylon"----- by Stephen Vincent Benet "The Invisible Man"--------------- by Gilbert Keitih Chesterton "Why Don't You Look Where You're Going?" by Walter Van Tilburg Clark "Young Goodman Brown"---- by Nathaniel Hawthorne "The Minister's Black Veil"----- by Nathaniel Hawthorne "Dr. Rappacinni's Daughter"--- by Nathaniel Hawthorne "The Legend of Sleepy Hollow"- by Washington Irving "The Devil and Tom Walker"---- by Washington Irving "He Thinks He's Wonderful"-----by F. Scott Fitzgerald "The Jilting of Granny Weatherall"----- by Katherine Anne Porter "The Far and Near"------------by Thomas Wolfe "The Rocking-Horse Winner-----" by D. H. Lawrence "The Landlady"--------- by Roald Dahl "Lather and Nothing Else"--------- by Hernando Tellez "Death Trap" ----------by Paul Gallico "Test"------------------ by Theodore L. Thomas

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PRACTICE

Read “Order Up” and answer the following questions:

Order Up “Tessa, it’s time. You’ve been working here for two weeks now. I told you, we don’t serve beverages in glass containers on the deck, and we don’t give people water in the fancy plastic cups. Those cups cost money, you know,” Mariana snapped. I stared hard at my feet as I listened to Mariana’s latest round of criticism. She hadn’t bothered to commend me for covering all of Jesse’s tables during a busy lunch rush. I was beginning to regret my decision to accept this job instead of the one at my dentist’s office filing papers and maintaining the computer database three days a week. The night before, Jesse had been hinting around that he’d found another job. Even though I had only worked at the Cozy Comfort Café for ten days, I had already seen three employees come and go. Waiting tables wasn’t what I had anticipated. I dropped a check off at a booth as I made my way to a table that needed clearing. The last time I had seen the busgirl, she was chatting away with the line cook in the kitchen. I found my tip—two crumpled dollars—wedged under a plate smeared with ketchup and dill pickle juice. To my surprise, the busgirl approached the table just as I started to stack the plates. “I’ll take care of it,” she said airily. I nodded my head and made my way to another table that needed to be cleaned off. After the rush, the dining room looked like a war zone; every table was littered with empty plates, broken crayons, wadded napkins, and half-empty glasses. The room seemed to ooze grease and steam like a hot spring. I resolved to have all of my tables cleared by two o’clock, with or without help from the busgirl. “Miss! Miss!” I became vaguely aware that someone was trying to get my attention. It was table 16, a group of four seated at the corner booth on the deck. Quickly, I made my way toward the table. “There’s a problem with our bill,” began the man as his wire-rimmed glasses slid down to the tip of his nose. “We ordered three soft drinks, not four. I had water, so you owe us $1.25.” I accepted the bill from his outstretched hand, and unfortunately, he was right. “I’m sorry, you’re right. I made a mistake. I’ll have this taken care of immediately,” I said, smiling politely as I walked away. “See, you really have to watch these places. They try to sneak in extra charges wherever they can,” I heard him whisper smugly to his friend. The thought of asking Mariana to change the bill was about as appealing as having my tonsils removed, but I had no other option. To my surprise, she was too busy poring over some supply sheets to scold me harshly. She handed me the corrected check without a word, barely acknowledging that I was alive. Table 16 paid their check and promptly left, and I began the task of clearing once again. I hesitated when I saw a newspaper folded up in the corner of the booth, the heading “Help Wanted” screaming at me in thirty-point black type. I casually folded and slipped the newspaper section into my apron pocket and resumed my task, feeling more energized now that I had selected my reading material for the evening. Which phrase from the story is an example of figurative language? A “. . . wedged under a plate smeared with ketchup and dill pickle juice.” ≥B “. . . seemed to ooze grease and steam like a hot spring.” C “. . . too busy poring over some supply sheets to scold me harshly.” D “. . . feeling more energized now that I had selected my reading material for the evening.”

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If Tessa had to write an essay about her job at the Cozy Comfort Café, which of the following titles would not indicate a stereotype or bias? A Why Bosses Act Mean B Customers Are Rude C The Joy of Waiting Tables ≥D How to Excel as a Server