The Elephant (In the Ivy) - Chapter 2: Interactive Reading

Instructions

Please read Open ELA Chapter Two: Literary Vocabulary. Consider the concepts discussed in Open ELA and complete the following problem set about Chapter Two of The Elephant (In the Ivy) by Alexander Greengaard.

Chapter 2: Full Text

TWO

"The game is called Chaturanga," Alison said across a two-top table over the rustling din of the lunch crowd. Paige Hall offered only a blank stare. Alison gave her a minute. She wanted this conversation to be shrouded in mystery, bubbling with dramatic flair– as it was when Tony first explained it to her. She steepled the tips of her fingers together, both elbows secured on the table, and nodded slightly.

"Chaturanga," Paige repeated.

"It's named after an ancient Indian board game: an early predecessor to chess." Paige was silent. Her mouth tightened and her brow furrowed a bit as a short strand of auburn hair fell out of her pixie cut and into her face. Alison continued. "It means 'four factions.'"

"I thought it meant 'four feet,'" Paige interrupted.

Alison was impressed, a smirk curling on her lip. She changed posture as if to ask "How do you know that?"

Paige answered the unspoken question, or perhaps the awkward silence. "It's a yoga pose."

Alison wasn't sure how to process that knowledge. It somehow made the whole thing seem silly for the moment. Perhaps it was a bit silly. In any case, the game was very serious and important to her, and from what she could tell, anyone else in play. She continued.

"The original rules of Chaturanga are mostly lost to history. We know it was played on an eight by eight board and that the game revolved around the movements of four divisions of units: footmen, cavalry, chariots, and elephants." Alison paused a moment to take a sip of her tea. It sputtered through the straw, chipping away slightly at the moody ambiance she was attempting to evoke. "Each unit had a unique move-set. Its own way to gain position against an opponent. There's also a Raja, a king, which we assume was to be defended, and a Mantri, his counselor."

"Like the queen," Paige's eyes were more engaged now. She was intrigued. "So, what's the deal at Brown? What's the game?"

"Pizza Margherita and two plates," Paige jumped as the waiter dropped the meal on its rack in the center of the table, steam swirling in elegant patterns between them. "Anything else I can get for you?"

Alison gave a little smile. "This looks great, thanks."

The two made an unspoken agreement not to touch the pizza until it or the conversation had cooled sufficiently. Alison took the interruption as an opportunity to briefly study Paige. She was compact in stature and spoke with a bubbly spark. An All-American gymnast in high school. She was quick-witted and thoughtful. Alison could picture her dropping from an air-duct on an unsuspecting Elephant asset, a look of dread and confusion on his agape, privilege-chiseled jaw. Paige went for a sort-of grungy look these days. Acid-washed 501s. Tattered brown canvas bomber, a mauve hoodie peeking out from beneath. Piercings. Alison had never considered herself posh before, but next to Paige she felt posh. And tall. She was losing focus. She clapped her hands and started in on Paige's question.

"Chaturanga is a game of position and capture played between four factions, in this case representing specific university departments, over the course of the academic year at Brown. Each faction may recruit nine assets, essentially field agents, to engage in tactical espionage missions to improve their positions toward the prime objectives."

"The prime-"

"Each faction defends a small, ivory statuette of a Raja: actual artifacts from the Gupta Empire," Alison was on a roll. She felt like Ewen McGregor's Obi Wan explaining the ways of the Jedi to young Anakin, which is to say slightly hokey, but leaning into it. "A Raja must be displayed in plain sight in a faction's territory. If captured and held until the end of the second term, it's worth nine points."

"So it's Capture the Flag," Paige intuited in a low, lengthy tone, her brain engaged in a light mental-gymnastic tumbling pass.

"Essentially, yeah," she shrugged. "But with a few important differences. I think of Capture the Flag as a game about running. Chaturanga is more about planning, talking, thinking one step ahead of your opponent. It's slower, more methodical. Missions can take weeks to develop. Position is gained and lost. Alliances are made and broken."

"Do you wear little football flags around all year?" Paige posited through a giggle.

"We do," Alison said, leaning out of an ambient shadow and gesturing to her coat. "Assets wear university pins on their right lapel. The pin is affixed to its base with a magnet. Pull the magnet off an asset and she's dead. Your faction receives one point for eliminating an opposing asset."

"Out of the game? For the rest of the year?"

"That's right. And they can no longer talk about the game. No sharing intelligence, no plotting, no planning, no warning teammates of impending danger. Dead people don't talk."

Alison produced a second pin from her pocket and slid it under the pizza rack toward Paige, who started idly examining it. On its front face, a beautiful relief of the Brown University seal. Paige pulled on the seal, releasing it from its base. It was heartier than she'd imagined, requiring a forceful tug. The hidden side had an etching, equally beautiful, of an infantry soldier at attention.

Alison went on. "The underside depicts your faction's symbol. Ours is the Footman. They actually change each year depending on how your team ranks."

"So is that last place?"

"Sure is. The Lord Chamberlain's Men, AKA the Theatre Department, is very much the underdog these days."

Paige was ready for pizza. She pulled three slices to her plate and started voraciously demolishing the nearest one. Alison was glad to have a friend who could eat and didn't have any baggage about it. A fair share of her high school crew would give her judgy looks over their kale salads when Alison so much as thought about a carb. She smiled as she grabbed a slice and continued talking through mouthfuls of Buffalo mozzarella.

"Engineering won last year, so they received the coveted rank of Elephant. Psychology earned the rank of Chariot, the English department came in third to become the Cavalry, and that leaves us, the humble Footmen."

Paige looked contemplative as she noshed away at a second slice. She abruptly pulled the top off her Dr. Pepper and wolfed down a massive gulp, leaving a trace of the black cherry elixir at the edge of her mouth. She toweled down with an errant sleeve and looked Alison in the eye. "Why?" she asked, finally. "Why do you do this?"

"I mean, there is a technical answer to that question," Alison started. She tried for another swig of tea but was denied by the cruel sputter of straw against empty vessel. Paige tore the top off Alison's cup and decanted a helping of Dr. Pepper from her own. Alison nodded in appreciation and continued. "There is an undergraduate prize awarded each year: The Thomas Carpenter Prize for Elocution. University departments vote on the winner. But there's no actual contest, and the whole thing seemed arbitrary to the various academic leads. So, years ago, four department heads proposed a chess tournament to determine the winner of their collective votes. And, over time, the ante kept getting upped until we have what we have today: Chaturanga, the secret abomination."

Paige threw an eyebrow. "But there are like 40 departments now."

"Yeah. Stacking four votes is now functionally a hollow gesture. I don't think it ever really mattered, actually. I interpret it as a sort of grand protest to the pomp and circumstance that academia is always putting on completely meaningless things."

Paige smiled. It was a bright, mischievous, smile. She was getting it. "So, it's a big, inconsequential, secret underground club that does cloak-and-dagger spy missions, but just for fun?"

Alison put a finger to her lip and considered how silly it all sounded in Paige's concise summary.

"Yes."

***

Alison took a beat to absorb the lush, gothic beauty of the campus as she and Paige veered off George Street past the steps of Rhode Island Hall and onto the main mall. Fall foliage lit the oaks and maples aflame, a few crimson stars spiraling down toward the base of the massive Ionic columns that guarded the egress to John Carter Brown Library. The columns sent the eye upward, toward the heavens, where the structure was embellished by a dramatic Hellenistic frieze, complete with Zeus's eagles to protect the coveted knowledge within.

The sheer heft of the concourse reminded Alison of how fortunate she felt to be studying at Brown, and by extension, her deeply rooted passion for theatre. Anchored by an early love of language and literature, accented regularly by the whirlwind of nervous commotion pervasive to her mind and body in performance, theatre charged her every particle with love and joy and fear and epinephrine. Theatre demanded that she take in the language, to embody it and become it: to channel its eldritch energy through the conduit of her body and release it in a rogue wave. She breathed in sharply. I am so stupid lucky, she thought.

Alison was on full scholarship. She balanced a full course load with work as a carpenter in the scene shop, and occasional moonlighting as a bartender at a hipster spot downtown called The Eddy. Even then, she had to take out student loans to keep up. Contrary to popular belief, there are poor neighborhoods in Providence. Aly grew up sharing a one-bedroom apartment with her mom in Smith Hill. She got the room– her mother would sleep on a pull-out in the living room. Sometimes she told herself that a BFA in theatre was a bit of a fool's gambit if she had any notion of changing her stars. But then, looking out at the neatly-trimmed mall, its crisp, baleful New England architecture in full bloom, she was tidily reminded that "I went to Brown" was something of a skeleton key to many of life's sternly-guarded gates.

The autumn-touched deciduous trees lining the mall looked like torches adorning an ancient corridor. She looked over at Paige. Her legs were ridiculously short compared to Alison's somewhat lanky frame, and she took nearly twice as many steps to move at the same pace. She had her hands in her pockets, which she occasionally removed to crack a few contemplative knuckles.

"I have some questions," Paige blurted, breaking several-minutes' silence. Alison nodded her forward. "First, why are you recruiting so late? The game's been going since August."

Alison smiled. "The Lord Chamberlain's Men are often targeted early in the game. Theatre majors are seen by the other divisions as weak-willed, lacking in mental faculty. We're trying something new this year: running a short roster."

"How does that work?" Paige inquired, gears spinning behind her light brown eyes.

"The first few months typically involve gathering intelligence on opposing factions. Figuring out their rosters, whereabouts, movements. We figure running a short list will keep them guessing, maybe drive them crazy trying to unveil the identities of operatives that don't exist."

Paige gave an approving chuckle. "How many are you running?"

"Six. We want to keep it there. So, in the unfortunate but inevitable event of an asset's demise, we have the elbow room to swap out for a fresh soul. Believe it or not, dear Paige, I was the first of the Lord Chamberlain's Men to draw blood. So I've been given the honor to select my new partner. I should also mention at this point that I very much got my last partner killed. I'm a wild card, Paige!"

Paige let out a hearty laugh at that. Alison's energy was infectious. But after a moment's respite, her face fell in hesitation. "Okay, that brings me to my next question: why me?"

Alison was startled to think that Paige had even an inkling of self-doubt. To her, Paige was an obvious choice. Sharp, ambitious, athletic. She was completely trustworthy and good company to boot. Though they didn't have much social contact outside of school, Paige and Alison bonded last spring semester during a production of King Lear. They played sisters Reagan and Goneril, whose vile aspirations drove them to gouge out the eyes of the lecherous Lord Gloucester. They had spent many loopy, twilight hours together in Lyman Hall, memorizing lines and working intricate blocking. They had also taken Stage Combat Two together, required for the roles, and found trust in each other as sparring partners. Her somersault-takedown of Malibu Ken had, in fact, been pulled right out of Paige's playbook.

While there is no bond greater than the one shared by two undergrads gouging a man's eyes out with four-inch heels, that wasn't Alison's angle on this pass. "The game," she began, "has become a bit of a boy's club. There's too many, they're too smug, and they're incredibly patronizing: even the ones on your own team!"

"So you just want another girl," Paige offered.

Alison could see traces of skepticism start to creep into Paige's expression. "Just another girl isn't going to cut it. It's gotta be you, pumpkin. You're fast. You can fight. You think for yourself. And I trust you."

Paige scrunched her face. "I don't know, Aly. It's just– kind of weird."

"Paige, listen." Alison stopped walking and squared her shoulders to face Paige directly. The sun was starting to fall beneath the Doric colonnade that ran across the ingress of Manning Hall. A streetlamp flicked on overhead, illuminating Alison in warm amber light. She paused to gather her thoughts, perforated by a sharp gulp. "Everything I've ever fought for, I had to fight harder. Privilege, disadvantage– they're irrevocably woven into society, and I get it. I can accept that. I can work with that. And it's fine. Well, it's not fine, but it's the canvas we're dealing with."

Alison crossed her arms and looked south as the last of the sunlight faded rapidly on the lush, trim grass beyond. She exhaled deeply and looked back at Paige. She went on. "This game is the first thing I've experienced with any semblance of an even playing field. As much as they talk down and condescend, they don't cheat. So, if I'm at my best, I can, for the first time in my life, face the world with a pinch of objectivity. Without wondering about the role of my circumstances on my outcomes. And you know what, Paige? I think you and I could be the real deal. Being underestimated– it might actually put us at an advantage. We could change the whole picture!"

The sun was gone, now. A few more streetlamps snapped to life, breathing soft light onto the long walkway between Hope College and Arnold Lab, parallel to the sweeping red brick architecture of Waterman Street. A long shadow came into focus across their path as a light popped into existence to the west.

"Okay," said Paige. "Let's– let's beat up some boys."

"That's the spirit," Alison cried with a wave of ribaldry. "Good timing, too."

Paige looked up as Alison bestowed a silver pin onto her lapel. She followed Alison's eyes westward.

"Because that guy's been following us for twelve blocks."

Reading Tip: You can scroll through the full chapter text above as you work through the questions below. Refer back to specific passages to help you think through your answers!

Section 1: Setting and Character Development

Key Excerpt: "The game is called Chaturanga," Alison said across a two-top table over the rustling din of the lunch crowd... Alison took the interruption as an opportunity to briefly study Paige. She was compact in stature and spoke with a bubbly spark... Paige went for a sort-of grungy look these days. Acid-washed 501s. Tattered brown canvas bomber, a mauve hoodie peeking out from beneath. Piercings.

In this opening section, Alison recruits Paige at a restaurant, explaining the rules of Chaturanga while studying her potential partner's characteristics and personality.

1. According to Open ELA's definition of "setting" as "time, place, and special circumstances," which element of setting is most emphasized in the restaurant scene?
Correct Answer: A) The special circumstances are most emphasized - this isn't just a casual lunch between friends, but a secretive recruitment meeting for a campus-wide espionage game. The author creates tension around the need for discretion and the unusual nature of what Alison is proposing to Paige.
2. Open ELA defines characters as "the people that are involved in the action." What character development technique does the author use when describing Paige's appearance and background?
Correct Answer: B) The author uses descriptive passages to paint a picture of Paige's "grungy look" with specific details like "acid-washed 501s" and "tattered brown canvas bomber." These physical descriptions help readers visualize the character and understand her personality through her style choices.
3. When Alison thinks "She felt like Ewen McGregor's Obi Wan explaining the ways of the Jedi to young Anakin," what literary device from Open ELA is being used?
Correct Answer: C) This is a metaphor - a poetic comparison between two things. Alison is comparing her role in explaining Chaturanga to Obi Wan's role as a mentor figure, suggesting she feels like she's introducing Paige to a new world with its own rules and mysteries.
4. The detailed explanation of Chaturanga's rules serves what function in terms of Open ELA's concept of exposition?
Correct Answer: D) This exposition is crucial because readers need to understand the rules and stakes of Chaturanga to follow the rest of the story. The author cleverly delivers this information through dialogue, making it feel natural while providing essential background.
5. When Paige says "So it's Capture the Flag" and Alison corrects her, what does this dialogue reveal about both characters?
Correct Answer: C) The dialogue reveals Paige's practical, analytical nature - she tries to understand by comparing to something familiar. Alison's correction shows her passion for the game and her desire for Paige to understand its sophistication. This exchange develops both characters efficiently.

Section 2: Plot Development and Conflict

Key Excerpt: "Why?" she asked, finally. "Why do you do this?" ... "Everything I've ever fought for, I had to fight harder. Privilege, disadvantage– they're irrevocably woven into society... This game is the first thing I've experienced with any semblance of an even playing field."

Paige questions Alison's motivations, leading to Alison's passionate speech about inequality and her desire for a fair competition where she can prove herself based on merit alone.

6. According to Open ELA's definition of plot as "what happens; which is ultimately the consequences of the characters' choices," what choice does Alison make in this section?
Correct Answer: B) When Paige asks "Why do you do this?", Alison makes the choice to open up about her personal struggles with privilege and disadvantage. This vulnerability is a character choice that moves the plot forward by building trust and convincing Paige to join.
7. The campus walk section uses what type of passage (according to Open ELA's definitions) to develop the story?
Correct Answer: C) The campus walk is dominated by descriptive passages about "fall foliage," "massive Ionic columns," and "dramatic Hellenistic frieze." These descriptions serve to illustrate the setting and create atmosphere while also reflecting Alison's internal state and connection to the university.
8. Open ELA describes rising action as "when tension builds in the story as a result of conflict." What creates rising action in Alison's recruitment of Paige?
Correct Answer: D) The tension builds as Paige expresses doubt ("I don't know, Aly. It's just– kind of weird") and Alison becomes increasingly passionate about convincing her. This creates conflict between what Alison needs (a partner) and Paige's reluctance to commit.
9. When Alison reflects on her background growing up in Smith Hill, what literary technique is the author using to develop theme?
Correct Answer: C) The backstory about Alison's economic background (one-bedroom apartment, mother sleeping on a pull-out) explains why the game means so much to her - it's her first experience of a "level playing field." This backstory develops the theme about class, privilege, and merit.
10. The metaphor "autumn-touched deciduous trees lining the mall looked like torches adorning an ancient corridor" serves what purpose in the narrative?
Correct Answer: B) This metaphor connects the contemporary campus to ancient imagery, reinforcing the classical themes of the story (Chaturanga, ancient Indian game, Greek architecture, etc.). It suggests that the current "game" has ancient roots and gravitas.

Section 3: Theme and Resolution

Key Excerpt: "Paige, listen." Alison stopped walking and squared her shoulders to face Paige directly... "This game is the first thing I've experienced with any semblance of an even playing field... And you know what, Paige? I think you and I could be the real deal. Being underestimated– it might actually put us at an advantage."

The chapter builds to Alison's passionate speech about fairness and ends with the revelation that they're being followed, transitioning from recruitment to immediate danger.

11. According to Open ELA's definition of theme as "the message, moral, perspective, or worldview that the story was written to communicate," what theme is most clearly expressed in Alison's speech to Paige?
Correct Answer: A) Alison's speech centers on the theme that fair competition based on ability rather than privilege can be liberating. She sees Chaturanga as a rare opportunity where "if I'm at my best, I can face the world with a pinch of objectivity" - meaning her performance depends on skill, not circumstances.
12. The ending line "Because that guy's been following us for twelve blocks" serves what function in terms of story arc?
Correct Answer: D) This line creates a cliffhanger that shifts the story from the recruitment conversation (which has been resolved with Paige agreeing to join) to immediate danger. It transitions the story from one type of tension to another, setting up future action.
13. When the author writes "Being underestimated– it might actually put us at an advantage," what literary device is being used to develop character voice?
Correct Answer: D) This is direct characterization through dialogue - Alison's words directly reveal her strategic mindset, optimism, and ability to find advantages in difficult situations. The dialogue shows us her character traits rather than just telling us about them.
14. The description of the campus architecture (Ionic columns, Hellenistic frieze, Zeus's eagles) creates what type of imagery according to Open ELA's definition?
Correct Answer: D) This creates visual imagery - the author uses "vivid description to help you picture an idea or scene." The detailed architectural descriptions help readers visualize the grand, classical appearance of the campus buildings.
15. How does the author use the contrast between Alison's economic background and her current Brown University setting to develop theme?
Correct Answer: D) The contrast between Smith Hill (sharing a one-bedroom apartment) and Brown's grandeur develops themes about social mobility and education as a "skeleton key to many of life's sternly-guarded gates." It shows both the barriers Alison has overcome and the opportunities education provides.

Chapter 2 Complete!

You've finished the interactive reading of Chapter 2. Consider how the author used the literary elements and devices discussed in Open ELA - setting, character development, plot structure, themes, and literary devices like metaphor and imagery - to develop both the relationship between Alison and Paige and the larger themes about merit, privilege, and fair competition.

Next Step: Move on to Chapter 3