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Vocabulary Power Plus
Vocabulary, Reading and Writing Exercises
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Literature Grammar and Writing Vocabulary Reading
Literary Touchstone Classics College and Career Readiness: Writing Vocabulary Power Plus Reading Informational Texts
Literature Teaching Units Grammar for Writing Vocabulary from Latin and Greek Roots Reading Literature
Level Seven
By Daniel A. Reed
Edited by Mary Beardsley
ISBN 978-1-58049-266-9
Copyright ©2005 by Prestwick House, Inc.
All rights reserved. No portion may be P.O. Box 658 Clayton, DE 19938
•
reproduced without permission in (800) 932-4593 www.prestwickhouse.com
•
writing from the publisher. Revised, 2012
Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Strategies for Completing Activities. . . . . . . . . . . . . . . . . . . . . . . . . . 6
Pronunciation Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Word List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Lesson One. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Lesson Two. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Lesson Three. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Review: Lessons 1-3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Lesson Four. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Lesson Five. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Lesson Six. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Review: Lessons 4-6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Lesson Seven. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Lesson Eight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Lesson Nine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Review: Lessons 7-9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Lesson Ten . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Lesson Eleven. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Lesson Twelve. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
3
INTRODUCTION
V
ocabulary Power Plus Levels Six through Eight combine
classroom-tested vocabulary drills with reading exercises
designed to prepare students for both secondary school
and the revised Scholastic Assessment Test; however, Vocabulary
Power Plus is a resource for all students—not just those who are
college bound or preparing for the SAT. This series is intended
to increase vocabulary, improve grammar, enhance writing, and
boost critical reading skills for students at all levels of learning.
Vocabulary Power Plus reinforces each vocabulary word by
presenting it in several different contexts. Words in Context
activities allow students to identify the correct context for each
lesson’s words. Sentence Completion and Improving Paragraphs
exercises foster writing and editing skills and prompt students to
create contexts for words instead of simply memorizing defini-
tions. Each exercise, including Prefixes and Suffixes and Reading
Comprehension, is linked to the vocabulary list. Students receive
additional reinforcement through review activities after every
third lesson. Review lessons further the development of inference
skills and highlight word relationships and shades of meaning.
We hope that you find the Vocabulary Power Plus series to be
an effective tool for teaching new words and an exceptional tool
for preparing students for secondary school and standardized
tests.
5
Strategies for Completing Activities
Words in Context
To complete the answer for Words in Context questions, first read the entire
sentence, and then focus on the words closest to the blank and determine the
correct answer’s part of speech.
If a noun precedes the blank, then the answer is likely to be a verb.
For example:
The repairman __________ an old sock when he looked
beneath the dryer.
In this example, repairman is the subject of the clause containing the blank,
and sock is the object. The sentence would become senseless if an adjective or
a noun were used in the blank.
If an adjective precedes the blank space, then the answer is most likely a noun.
For example:
The tired __________ has been fixing dryers all day long.
The adjective tired must modify something. Using an adjective for the answer
creates a nonsensical sentence. The answer cannot be a verb because the
sentence provides no subject for the verb has been fixing. Placing a noun in
the blank creates a subject for the sentence and provides a word for tired to
modify.
Articles such as a, an, and the can also precede nouns, but you must look at
what follows the blank to determine what type of word the answer will be. For
example:
The repairman fixed a __________ today.
In this example, the blank must be a noun, which serves as the object of the
verb fixed.
The repairman fixed a __________ dryer today.
In this example, the blank must be an adjective, because something must
modify the noun dryer.
6
An answer’s part of speech varies also when a verb precedes the blank. If a verb
precedes the blank, first determine the purpose of the verb. Will the answer be
the object of the verb, or a part of the verb? For example:
The repairman fixed __________ dryers today.
In this example, the answer must be an adjective that modifies dryers.
The repairman plans to __________ the dryer tomorrow.
In this example, the answer will be a verb that completes the infinitive phrase,
to….
The repairman will not __________ the dryer today.
In this example, the answer will be a verb that completes the verb phrase, will
not….
Identifying the answer’s part of speech will allow you to narrow the word list
down to a few possible answers, but you must take into account the rest of the
sentence to select the answer that best matches the context of the sentence.
As you read, think about the context of the answer. Does the sentence have a
positive connotation, or is it negative? Is it formal, or is it casual? Does it use
language specific to a particular subject or field of study that would limit the
answer to a specific word?
Sentence Completion
The main thing to remember about sentence completion is that your answer
must show that you understand the meaning of the word. Your answer must
show the word in use—not simply redefine the word. For example:
When it landed on the floor after being dropped, the flimsy
container…
The word is flimsy, which means delicate or fragile. To create your answer, first
ask yourself what would reveal to you whether something is flimsy. In this sen-
tence, the clue is already begun for you because the flimsy container has been
dropped onto the floor. Determine what a flimsy container would do if it fell
onto the floor, and write it:
When it landed on the floor after being dropped, the flimsy
container…shattered into many small pieces, spilling its contents
everywhere.
7
Prefixes and Suffixes
Use the Words in Context strategy of determining a part of speech to decide the
type of word you will need to complete each sentence. You must form the word
you need by combining a vocabulary word with a prefix or suffix, which means
that your answer will use the same root as the vocabulary word provided, if not
the entire word.
To identify the answer, first consider the definition of the given word and how
it relates to the topic of the sentence provided. Then, look over the prefixes and
suffixes and select the one that creates the proper part of speech and usage for
the context of the answer.
Critical Reading
Reading questions generally fall into three categories:
1. Identifying the main idea or the author’s purpose. Generally, the question
will ask, “What is this selection about?”
In some passages, the author’s purpose will be easy to identify because the one
or two ideas leap from the text; however, other passages might not be so easily
analyzed, especially if they include convoluted sentences. Inverted sentences
(subject at the end of the sentence) and elliptical sentences (words missing)
will also increase the difficulty of the passages, but all these obstacles can
be overcome if readers take one sentence at a time and recast it in their own
words. Consider the following sentence:
When determining an individual’s total worth to the team,
one must first, and perhaps most importantly, consider the
player’s attendance record, as this suggests important infor-
mation about the individual’s degree of commitment and is a
significant indicator of the player’s priorities, which should
place the team near the top; a dependable teammate will dem-
onstrate dedicated allegiance to the team through persistent
practice and support of other players.
If we edit out some of the words, the main point of this sentence is
obvious.
8
When determining an individual’s total worth to the team, one
must first, and perhaps most impontly, consider the player’s
attendance record, as this suggests important information
about the individual’s degree of commitment and is a signifi-
cant indicator of the player’s priorities, which should place
the team near th top; a dependable teammate will demonstrate
dedicated allegiance to the team through persistent practice
and support of other players.
Some sentences need only a few deletions for clarification, but others require
major recasting and additions; they must be read carefully and put into the
reader’s own words.
Some in their discourse desire rather commendation of wit,
in being able to hold all arguments, than of judgment, in
discerning what is true; as if it were a praise to know what
might be said, and not what should be thought.
After studying it, a reader might recast the sentence as follows:
In conversation, some people desire praise for their abili-
ties to maintain the conversation rather than their abilities
to identify what is true or false, as though it were better to
sound good than to know what is truth or fiction.
2. Identifying the stated or implied meaning. What is the author stating or
suggesting?
The literal meaning of a text does not always correspond with the intended
meaning. To understand a passage fully, readers must determine which
meaning—if there is more than one—is the intended meaning of the passage.
Consider the following sentence:
…an expression of courtesy and interest gleamed out upon
his features; proving that there was light within him and
that it was only the outward medium of the intellectual
lamp that obstructed the rays in their passage.
Interpreted literally, this Nathaniel Hawthorne metaphor suggests that a light-
generating lamp exists inside of the human body. Since this is impossible, the
9
reader must look to the metaphoric meaning of the passage to understand it
properly. In the metaphor, Hawthorne refers to the human mind—conscious-
ness—as a lamp that emits light, and other people cannot always see the lamp
because the outside “medium”—the human body—sometimes blocks it.
3. Identifying the tone or mood of the selection. What feeling does the text
evoke?
To answer these types of questions, readers must look closely at words and
their connotations; for example, the words stubborn and firm share almost the
same definition, but a writer who describes a character as stubborn rather than
firm is probably suggesting something negative about the character.
Improving Paragraphs
When you read a passage, remember that Improving Paragraphs exercises
focus on the clarity and organization of the whole passage as opposed to single,
confined, grammatical errors. Improving Paragraphs questions fall into four
categories:
1. Analytical. This type of question involves the main idea, or organization,
of the passage, and it might require you to understand the purpose or
the meaning of the whole passage before you answer. Be aware of topic
sentences, sentences that contradict the author’s intention, and informa-
tion that seems to be in the wrong place.
2. Sentence Revision. Revision questions focus on single, troubled sentences
that either lack clarity or contain some other type of flaw. These sen-
tences may or may not affect the whole paragraph.
3. Sentence Combination. Combination questions ask you to fulfill the
purpose of existing sentences using fewer words, thus simplifying and
clarifying the text. These can sometimes be identified during your initial
reading of the text, because flawed combinations distort meanings and
create awkward paragraphs.
4. Sentence Addition. Addition questions present sentences which, when
added to the passage or deleted from the passage, enhance the general
clarity of the text. Watch for “loose ends” or poor transitions between
paragraphs as potential areas for addition questions.
10
Pronunciation Guide
a — track
¡ — mate
ä — father
â — care
e — pet
£ — be
i — bit
∞ — bite
o — job
¶ — wrote
ô — port, fought
¶¶ — proof
•• — book
u — pun
ª — you
û — purr
ç — about, system, supper, circus
îr — steer
oi — toy
11
Word List
Lesson 1 Lesson 3 Lesson 5
articulate amity bizarre
crux cater bungle
debris guise deduce
decry inconsequential dynamic
eminent jubilant irrelevant
harass placate loiter
milieu preclude obstinate
opportune repress scrutinize
refuse saturate stunt
skeptical slake superficial
successor sortie ultimate
sullen succumb vapid
trivial tranquil viable
tinge venomous wan
unkempt wrest wane
Lesson 2 Lesson 4 Lesson 6
belittle acute adjacent
blasé durable candor
concoct eavesdrop compassion
decade ethical democratic
diverse fjord disperse
enunciate gaudy doleful
hurtle nurture duress
improvise nominal irk
jostle pommel ratify
libel quibble sobriety
mammoth rampart stagnate
paradox respite subordinate
provincial rite talon
realm seismic taut
undermine terrestrial wallow
12
Lesson 7 Lesson 9 Lesson 11
badger antagonist authoritarian
benevolent detriment avenge
elapse drone bewilder
fitful drudgery bristle
genre horizontal clemency
haven hypocrite elaborate
immaterial insubordinate gazebo
innate mentor malady
kindle oration mar
listless retract obscure
meager sanctuary obsolete
octogenarian scamper pretext
permeate solace teem
republic somber translucent
tether zenith transparent
Lesson 8 Lesson 10 Lesson 12
alight brash appall
convalesce buff constraint
dainty intemperate dissuade
feint interrogate falter
implore moot frail
impugn opaque hypothetical
integral pragmatic irate
jurisdiction prestigious peninsula
malnutrition prodigy placid
meddle savory prejudice
painstaking sedate prelude
pantheon singular profane
sear spontaneous puny
vertical usurp ruthless
wince whimsical skirmish
13
Lesson 13 Lesson 15 Lesson 17
bystander arbitrary askew
cede conspicuous cope
comprehensive detest deceptive
devout dexterity engrossed
flounder dreg facilitate
foster flourish gusto
incite fray premise
pittance incoherent rejuvenate
precipitate nullify remote
restrictive paltry reprehensible
scurry persistent reverberate
shrewd prediction speculate
spew sinister supplement
tact succinct vain
vigorous tundra yen
Lesson 14 Lesson 16 Lesson 18
accost concise asset
ascend dubious construe
candidate dupe equilibrium
conventional feudal imperturbable
culprit illegible interloper
daft indigent melancholy
disparage inhibition petty
miscellaneous merit potential
placard potent prudent
proximity protagonist suave
quarry ruse tertiary
regatta straightforward unabated
sordid subsequent unique
stereotype vogue vie
whet writhe wither
14
Lesson 19 Lesson 20 Lesson 21
adverse assail aspire
alliance astute composure
altruism condolence deploy
blunder enigma exonerate
bolster fruitless exploit
brazen inexplicable flamboyant
indifferent malignant fret
insurgent monotonous hostile
lucid profound lackluster
mutual rail maternal
quaint shun morose
retort subterranean procrastinate
technology valor replenish
terminal variable saga
vigil virtue static
15
Lesson One
1. articulate (är tik´ yç lit) adj. well-spoken; clear
(är tik´ yç l¡t) v. to speak clearly and distinctly
(adj) The articulate woman made a living narrating for radio and
television advertisements.
(v) Please articulate the instructions so there is no confusion
over what to do.
(adj) syn: eloquent; coherent ant: tongue-tied; unclear
(v) syn: enunciate; pronounce ant: mumble; murmur
2. crux (kruks) n. the main or most important point or feature
Sam’s refusal to admit his responsibility was the very crux of the dilemma.
syn: core; root; center
3. debris (dç br£´) n. scattered remnants; rubble
The typhoon destroyed buildings and filled the streets with debris.
syn: ruins; waste
4. decry (d£ kr∞´) v. to condemn or disapprove openly
Citizens decried the new law until a court ruled it unconstitutional.
syn: denounce; condemn ant: applaud; praise
5. eminent (em´ ç nçnt) adj. famous; prominent
The eminent architect received numerous awards for her latest skyscraper
design.
syn: renowned; celebrated ant: unknown; common
6. harass (hç ras´) v. to torment continually; to irritate
Damian’s mother harassed him until he finally cleaned up his room.
syn: hound; hassle ant: soothe; please
7. milieu (mil yoo´) n. an atmosphere or setting
Frank enjoys the Victorian milieu of Sherlock Holmes novels.
syn: environment; domain
8. opportune (op çr t¶¶n´) adj. happening at a convenient time;
favorable
Monday was the opportune day for the party because most of the guests
had the day off.
syn: appropriate; suitable ant: inappropriate; undesirable
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Vocabulary Power Plus: Level Seven
9. refuse (r£ fªz´) v. to decline to accept or allow
(ref´ ªs) n. discarded items; trash
(v) You will not be allowed to rent any more videos if you refuse to
pay the late fees.
(n) All refuse must be taken to the city dump.
(v) syn: reject; deny ant: accept; acknowledge
(n) syn: garbage; rubbish
10. skeptical (skep´ ti kçl) adj. doubting; disbelieving
Dan was skeptical about buying a watch from the vendor on the street.
syn: doubtful; questioning ant: confident; certain
11. successor (sçk ses´ çr) n. one who inherits, will inherit, or is
next-in-line for a position or title
The successor to the late-night talk-show host was never as funny as the
original host.
syn: heir; descendent ant: predecessor
12. sullen (sul´ çn) adj. miserable; gloomy; somber
Her sullen poetry reflects her real-life depression and uncertainties.
syn: dark; dismal ant: cheerful; bright
13. tinge (tinj) v. 1. to tint 2. to affect slightly
n. a small amount of an added color or characteristic
(v.1) The black soot in the air tinged her white blouse gray.
(v.2) She worried that the unruly child would tinge the other students
with a sense of defiance.
(n) Adding a tinge of blue to the white walls would improve this
room.
(v.1) syn: shade; color
(v.2) syn: influence
(n) syn: tint; shade
14. trivial (triv´ £ çl) adj. of little importance
After seeing what his friend endured, Ben felt that his own problems
were trivial.
syn: minor; insignificant ant: crucial; important
15. unkempt (un kempt´) adj. maintained poorly; untidy
The grass in the unkempt lawn stood two feet tall.
syn: sloppy; messy ant: neat; trim
18
Lesson One
EXERCISE I – Words in Context
Using the vocabulary list for this lesson, supply the correct word to complete each
sentence.
1. Residents __________ the construction of a landfill less than a mile from
their new homes.
2. The morning before the rainstorm was not the __________ time to wash
a car.
3. The rusty metal will __________ the white gloves a shade of brown.
4. The __________ of the sentence was the word “not.”
5. Miguel, who grew up in the country, dislikes the urban __________ of the
city.
6. The damage to Brent’s car seemed __________ when he thought about
how lucky he was to have survived the accident.
7. Linda plans on retiring, but not before she chooses a[n] __________ to
take her place.
8. Sylvia’s __________ painting featured dead trees against a gray, winter
sky.
9. The adult birds __________ the snake until it left the vicinity of the nest.
10. If you __________ your words, people will understand you.
11. Empty pizza boxes and old newspapers littered Tom’s __________ apart-
ment.
12. Please throw your __________ in the trash bin outside.
13. The __________ juror felt certain that the defendant was lying.
14. After the earthquake, rescue workers used dogs to find victims trapped
beneath the __________.
15. After winning a Nobel Prize, the __________ scientist became an advisor
to the president.
19
Vocabulary Power Plus: Level Seven
EXERCISE II – Sentence Completion
Complete the sentence in a way that shows you understand the meaning of the
italicized vocabulary word.
1. Madeline determined that the crux of the matter is…
2. She thinks that 6:00 am is the opportune time to go jogging because…
3. The weeds growing in the lawn were a trivial problem until they…
4. The angry citizens harassed the corrupt mayor because…
5. The articulate student volunteered…
6. Someone who enjoys the oceanic milieu might decide to…
7. The loyal fan of the television series decried the network’s decision to…
8. The white clothes will take on a red tinge if…
9. The bin overflowed with refuse because…
10. Robbie could not find anything in his unkempt locker because…
11. People cleaned up the debris after…
12. As she approached retirement age, she trained a successor who would…
13. We knew by her sullen expression that she…
14. Grandpa was always skeptical about…
15. The eminent scholar became famous when he…
20
Lesson One
EXERCISE III – Prefixes and Suffixes
Study the entries and use them to complete the questions that follow.
The prefix in- means “in” or “not.”
The suffix -ful means “full of” or “having.”
The suffix -ion means “act of,” “state of,” or “result.”
The suffix -ity means “state of” or “quality of.”
Use the provided prefixes and suffixes to change each word so that it completes
the sentence correctly. Then, keeping in mind that prefixes and suffixes sometimes
change the part of speech, identify the part of speech of the new word by circling N
for a noun, V for a verb, or ADJ for an adjective.
1. (successor) You need to practice every day if you want to have a[n]
__________ career as a musician. N V ADJ
2. (opportune) When Caleb finally had a[n] __________ to see his
favorite band live, a snowstorm caused the concert to be postponed.
N V ADJ
3. (successor) Students in the British History class had to memorize
the __________ of English monarchs. N V ADJ
4. (opportune) The star player incurred a[n] __________ injury just
hours before the championship game. N V ADJ
21
Vocabulary Power Plus: Level Seven
EXERCISE IV – Critical Reading
The following reading passage contains vocabulary words from this lesson.
Carefully read the passage and then choose the best answers for each of the ques-
tions that follow.
1 Upon hearing the name “Sherlock,” many people instantly picture
the world’s most eminent fictional detective, complete with tweed,
deerstalker cap, cape, magnifying glass, and pipe. A single glance at a
footprint at the scene of the crime is all Sherlock Holmes needs to tell
you the culprit’s weight, occupation, and what injuries he or she might
have sustained as a child. For more than a century, Mr. Holmes has
amazed readers with his deductive ability; that is, his ability to infer facts
from clues that other investigators dismiss as being trivial to the case.
Sir Arthur Conan Doyle’s creation would not have been complete, of
course, without Sherlock’s dependable sidekick, Doctor Watson, whose
skills compensated for those forfeited by the great Holmes to make room
for his matchless intellect. Together, Holmes and Watson have become
icons of the mystery—the model for countless detective tales that feature
a genius and a trusty sidekick working together to solve crimes; however,
it is with no little surprise that many learn that Sherlock Holmes is but a
mere successor to the original detective genius. Those who are skepti-
cal of this need only read the adventures of C. Auguste Dupin—the first
detective—in Edgar Allen Poe’s “The Mystery of the Rue Morgue.”
2 The first of three Dupin mysteries appeared in 1841, forty-six years
before Sherlock Holmes debuted in the magazine serial A Study in
Scarlet. Narrated by an unnamed sidekick, Poe’s mysteries feature the
extraordinary deductive abilities of the eccentric Auguste Dupin, an
amateur detective in Paris. The brilliant Dupin uses his command of
logic to reconstruct unsolvable crimes, twice at the request of police who
overlook the clues at the crux of a mystery.
3 The Dupin mysteries establish several key elements that frequently
appear in detective fiction. Dupin is the original deductive genius, a
loner who relies upon his powers of logic and observation to decipher
evidence. He trusts only his sidekick of lesser genius, and Dupin’s
sidekick, like Dr. Watson, is also the narrator of the story. Since Dupin
corrects mistakes of police investigations, Poe’s stories suggest a general
lack of ability among police detectives. As a private detective, Sherlock
Holmes also assists police who seemingly cannot perform their duties.
Poe also introduces the concept of the wrongful accusation. In “The
Mystery of the Rue Morgue,” Dupin must solve a case to prove the
innocence of a wrongfully accused friend—a popular plot for modern
mystery and drama. Finally, Poe invented the “locked-room” mystery,
22
Lesson One
which involves setting a crime in a closed environment from which the
criminal could not possibly escape, thus baffling investigators. Modern
readers hear this technique humorously mocked each time someone
exclaims, “The butler did it! In the den! With the bread knife!”
4 From the popularity of Sherlock Holmes extends a long line of fic-
tional detective geniuses: Agatha Christie’s Hercule Poirot and Miss
Marple; Rex Stout’s Nero Wolfe; Perry Mason; Charlie Chan; Simon
Templar; Mike Hammer; and Sam Spade, to name a few. The detective
mystery has spread from literature to television, and it is now nearly
impossible to turn on a television without seeing at least two mysteries
in progress that involve either private investigators or police detectives;
however, whether you read mysteries or watch them, remember to thank
Edgar Allen Poe, and his invention of Auguste Dupin, for making the
mystery one of the most popular forms of entertainment.
1. As used in paragraph 1, eminent most nearly means the opposite of
A. weak.
B. celebrated.
C. popular.
D. unknown.
E. quiet.
2. Sir Arthur Conan Doyle is
A. the sidekick of the legendary Auguste Dupin.
B. the author who created Sherlock Holmes.
C. Auguste Dupin’s unnamed narrator.
D. the author who created Auguste Dupin.
E. Dr. Watson’s sidekick.
3. As used in paragraph 2, crux most nearly means
A. end.
B. crime scene.
C. heart.
D. topic.
E. evidence.
4. According to paragraph 3, which is not an element of the detective story?
A. deduction
B. ghosts and supernatural events
C. wrongful accusations
D. inept police
E. sidekick narrator
23
Vocabulary Power Plus: Level Seven
5. Which of the following would be the best title for this passage?
A. Mystery Begins With Sherlock Holmes
B. Negative Portrayals of Police in Fiction
C. Literary Sidekicks
D. The Locked-Room Element in Modern Mystery
E. The Case of the Forgotten Detective
24
