Passage Excerpt from A Voice in the Wilderness
Excerpt from A Voice in the Wilderness
by Grace Livingston Hill
With a lurch the train came to a dead stop and Margaret Earle, hastily gathering up her belongings, hurried down the aisle and got out into the night.
It occurred to her, as she swung her heavy suit-case down the rather long step to the ground, and then carefully swung herself after it, that it was strange that neither conductor, brakeman, nor porter had come to help her off the train, when all three had taken the trouble to tell her that hers was the next station; but she could hear voices up ahead. Perhaps something was the matter with the engine that detained them and they had forgotten her for the moment.
The ground was rough where she stood, and there seemed no sign of a platform. Did they not have platforms in this wild Western land, or was the train so long that her car had stopped before reaching it?
She strained her eyes into the darkness, and tried to make out things from the two or three specks of light that danced about like fireflies in the distance. She could dimly see moving figures away up near the engine, and each one evidently carried a lantern. The train was tremendously long. A sudden feeling of isolation took possession of her. Perhaps she ought not to have got out until some one came to help her. Perhaps the train had not pulled into the station yet and she ought to get back on it and wait. Yet if the train started before she found the conductor she might be carried on somewhere and he justly blame her for a fool.
There did not seem to be any building on that side of the track. It was probably on the other, but she was standing too near the cars to see over. She tried to move back to look, but the ground sloped and she slipped and fell in the cinders, bruising her knee and cutting her wrist.
In sudden panic she arose. She would get back into the train, no matter what the consequences. They had no right to put her out here, away off from the station, at night, in a strange country. If the train started before she could find the conductor she would tell him that he must back it up again and let her off. He certainly could not expect her to get out like this.
She lifted the heavy suit-case up the high step that was even farther from the ground than it had been when she came down, because her fall had loosened some of the earth and caused it to slide away from the track. Then, reaching to the rail of the step, she tried to pull herself up, but as she did so the engine gave a long snort and the whole train, as if it were in league against her, lurched forward crazily, shaking off her hold. She slipped to her knees again, the suit-case, toppled from the lower step, descending upon her, and together they slid and rolled down the short bank, while the train . . . ran giddily off into the night.
The horror of being deserted helped the girl to rise in spite of bruises and shock. She lifted imploring hands to the unresponsive cars as they hurried by her—one, two, three, with bright windows, each showing a passenger, comfortable and safe inside, unconscious of her need.
A moment of useless screaming, running, trying to attract some one’s attention, a sickening sense of terror and failure, and the last car slatted itself past with a mocking clatter, as if it enjoyed her discomfort.
Margaret stood dazed, reaching out helpless hands, then dropped them at her sides and gazed after the fast-retreating train, the light on its last car swinging tauntingly, blinking now and then with a leer in its eye, rapidly vanishing from her sight into the depth of the night.
She gasped and looked about her for the station that but a short moment before had been so real to her mind; and, lo! on this side and on that there was none!
The night was wide like a great floor shut in by a low, vast dome of curving blue set with the largest, most wonderful stars she had ever seen. Heavy shadows of purple-green, smoke-like, hovered over earth darker and more intense than the unfathomable blue of the night sky. It seemed like the secret nesting-place of mysteries wherein no human foot might dare intrude. It was incredible that such could be but common sage-brush, sand, and greasewood wrapped about with the beauty of the lonely night.
No building broke the inky outlines of the plain, nor friendly light streamed out to cheer her heart. Not even a tree was in sight, except on the far horizon, where a heavy line of deeper darkness might mean a forest. Nothing, absolutely nothing, in the blue, deep, starry dome above and the bluer darkness of the earth below save one sharp shaft ahead like a black mast throwing out a dark arm across the track.
As soon as she sighted it she picked up her baggage and made her painful way toward it, for her knees and wrist were bruised and her baggage was heavy.
A soft drip, drip greeted her as she drew nearer; something plashing down among the cinders by the track. Then she saw the tall column with its arm outstretched, and looming darker among the sage-brush the outlines of a water-tank. It was so she recognized the engine’s drinking-tank, and knew that she had mistaken a pause to water the engine for a regular stop at a station.
cinders: track bed made from the residue of burnt coal
From A VOICE IN THE WILDERNESS by Grace Livingston Hill—Public Domain
Question
How does Margaret’s experience in paragraph 9 emphasize a theme of the excerpt?
- AIt confirms Margaret’s understanding that she cannot rely on help from anyone else.
- BIt leads Margaret to realize that her desire to change her situation is impractical.
- CIt causes Margaret to believe that her own actions led to an unfavorable outcome.
- DIt reinforces Margaret’s frustration about her lack of control over her surroundings.
Show the answer
Correct answer: A
The question asks about the relationship between the theme and paragraph 9, where Margaret desperately tries to get someone on the train to notice her.
A. CORRECT. One important theme of this excerpt concerns Margaret’s willingness to take action to ensure that she reaches her destination. This determination, described in Option A, is why she gathers her belongings together without help, gets off the train without being assisted by employees, and then attempts to climb back on while the train employees are busy examining the engine.
B. Incorrect. While the narrator describes her screaming as useless, she does not feel that her efforts overall are useless, and she does not give up until paragraph 10.
C. Incorrect. While Margaret is feeling a sense of “failure” in paragraph 9, she does not condemn herself as the train moves away.
D. Incorrect. Margaret expresses “terror” in paragraph 9 over being unable to catch someone’s attention, not frustration about her lack of control over her surroundings.
Question analysis
This theme question asks how Margaret’s experience in paragraph 9 of A Voice in the Wilderness, as she screams and runs while the train pulls away, emphasizes a theme of the excerpt. It is a lightly reworded version of an earlier handbook question. Every choice describes a believable reaction to being left behind, so the answer depends on the excerpt’s larger pattern.
- Grade level
- Grade 8 reading and task
- Compared with grade 7
- Above grade 7 Typical grade 7 theme questions trace a given theme through a text. Here students must decide which theme one frantic paragraph supports, and all four choices describe reactions that fit the scene, so the decision draws on the whole excerpt.
- Estimated difficulty
- Among the hardest on the SHSAT: a non-obvious approach, heavy reading, or a well-hidden trap.
- Thinking it demands
- Depth of knowledge 3, strategic thinking · mainly analyze
- What makes it hard
- Reading between the lines major
- Evidence in several places moderate
- Evidence
- Answered from the whole text
- Reading level
- Passage: about grade 8, 981 words; question and choices: about grade 10, 65 words.
- Students, last 30 days
- Not enough answers yet to show (it takes 10).
Why it is hard, traps and wrong answers (shows the answer)
Why it is hard
Each choice names a feeling a stranded traveler might have, and two lean on the paragraph’s own words, “useless” and “failure,” so the paragraph alone cannot decide it. Paragraph 9 must be read as the last link in a chain of trainmen, passengers and a departing train that all leave her to herself. Students who judge from that one paragraph often decide she has given up, though she soon picks up her bags and walks toward the dark shaft by the track.
Reading between the lines major Working it out
The theme is never stated; it must be drawn from paragraph 9’s cries that no one answers and from the passengers “comfortable and safe inside, unconscious of her need” in paragraph 8. (Graesser, Singer & Trabasso, 1994; Kintsch, 1998)
Evidence in several places moderate Working it out
The pattern begins in paragraph 2, when no trainman helps her off, and runs through the train lurching away “as if it were in league against her” in paragraph 7. (Kirsch & Mosenthal, 1990; Gorin & Embretson, 2006)
Strategy: Sum up in a phrase what keeps happening to Margaret from the start of the excerpt to its end, then check which choice paragraph 9’s own words most clearly add to.
Traps
- Too broad or too strong: A choice overstates, generalizes, or uses absolute words the text does not support.
- Wrong tone or attitude: Misjudges the tone, attitude or point of view, such as reading admiration as criticism, or taking a character's or subject's feelings for the author's.
The wrong answers, classified
B Too broad or too strong (King et al., 2004)
Stretches the “useless screaming” of one moment into a judgment that changing her situation is impractical, though she soon gathers her bags and sets off toward the shaft ahead.
C Reads too much in (Graesser, Singer & Trabasso, 1994)
Turns the “sense of terror and failure” into self-blame, though Margaret never says that her own choice to step off the train caused her trouble.
D Wrong tone or attitude (Graesser, Singer & Trabasso, 1994)
Fits the indifferent train, but names frustration over control where paragraph 9 stresses terror at being ignored by everyone aboard.
Working it out, step by step
Figure out what the question asks
This asks about a theme: a big idea a story keeps coming back to. How does what happens in paragraph 9 point to a theme? The right choice should fit a pattern across the whole excerpt.
Read paragraph 9
Paragraph 9 describes “A moment of useless screaming, running, trying to attract some one’s attention, a sickening sense of terror and failure.” Margaret screams and runs, trying to get someone to notice her. No one does. The last car rolls past “as if it enjoyed her discomfort.”
Find the same thing earlier
This is not the first time. In paragraph 2, none of the workers “had come to help her off the train.” In paragraph 8, the passengers sit “comfortable and safe inside, unconscious of her need.” That means they don’t know she needs help. Paragraph 9 is one more time when nobody comes. She will have to count on herself.
Check each choice
- A fits. Her cries go unanswered, just as before. She cannot rely on anyone else.
- B does not fit. Impractical means not sensible or workable. Her screaming fails, but she never decides that trying to change things is pointless. In paragraph 14 she “picked up her baggage” and set off again.
- C does not fit. She feels “failure,” but she never blames herself.
- D does not fit. The paragraph shows terror at being ignored, not frustration about having no control over her surroundings.
Choose the answer
Paragraph 9 adds one more moment where no one helps Margaret. So the answer is A.
Why this answer and not the closest wrong one
B is the closest wrong choice, because paragraph 9 calls her screaming “useless.” But one failed moment does not mean she gives up. Soon she takes her bags and walks toward the tall dark shape ahead. What stays true from paragraph 2 to paragraph 9 is that no one helps her. That is A.
More questions like this
The original DOE question
The passage “Excerpt from A Voice in the Wilderness” as printed (pages 128–129)
