“we real cool”
by gwendolyn brooks

the pool players.
seven at the golden shovel.

we real cool. we
left school. we

lurk late. we
strike straight. we

sing sin. we
thin gin. we

jazz june. we
die soon.

which device does brooks use to place emphasis on the word “we”?

a. enjambment
b. alliteration
c. imagery
d. rhyme

Pls excerpted from "hope is the thing with feathers" by emily dickinson [2] and sweetest—in the gale—is heard— and sore must be the storm— that could abash the little bird that kept so many warm— [3] i've heard it in the chillest land— and on the strangest sea— yet, never, in extremity, it asked a crumb—of me. in the last stanza, the author writes that the little bird “never … asked a crumb of me.” which type of figurative language is evident in these lines? a. onomatopoeia b. alliteration c. assonance d. personification

*ill give best answer brainliest*read the excerpt below and answer the question. we did not know, as yet, which was the better side, right or left, which road led to prison and which to the crematoria. still, i was happy, i was near my father. our procession continued slowly to move forward. another inmate came over to us: “satisfied? ” “yes,” someone answered. “poor devils, you are heading for the crematorium.” he seemed to be telling the truth. not far from us, flames, huge flames, were rising from a ditch. something was being burned there. a truck drew close and unloaded its hold: small children. babies! yes, i did see this, with my own eyes . . children thrown into the flames. (is it any wonder that ever since then, sleep tends to elude me? ) so that was where we were going. a little farther on, there was another, larger pit for adults. what is the conflict portrayed in this excerpt from elie wiesel’s night? select all that apply. the external conflict between the nazis and the jews the external conflict between the nazis and the allies the external conflict between wiesel and the inmate the internal conflict between wiesel’s memory of the burning bodies and his desire for peaceful sleep

Announcer two: ladies and gentlemen, following on the news given in our bulletin a moment ago, the government meteorological bureau has requested the large observatories of the country to keep an astronomical watch on any further disturbances occurring on the planet mars. due to the unusual nature of this occurrence, we have arranged an interview with noted astronomer professor pierson, who will give us his views on the event. in a few moments we will take you to the princeton observatory at princeton, new jersey. we return you until then to the music of ramón raquello and his orchestra. the passage is from the transcript of the radio adaptation of the war of the worlds by h. g. wells. instead of including expert interviews, h. g. wells uses a narrator to tell about an alien invasion that occurred a few years earlier. by including expert interviews, how does the radio broadcast change the story most effectively? o.a. it puts the story in the past tense, increasing its personal tone. o o b. it makes the broadcast sound more like a fictional story. o o c. it makes the broadcast sound like a news report. o d. it makes the story sound less believable by changing who presents the story's details.