Read the following passage from Desert Exile: The Uprooting of a Japanese-American Family, a memoir by Yoshiko Uchida that describes life in an internment camp. Which details show that part of the author’s purpose is to pay tribute to others?

Excerpt from Desert Exile: The Uprooting
of a Japanese-American Family

By Yoshiko Uchida

As soon as we got off the bus, we were directed to an area beneath the grandstand where we registered and filled out a series of forms. Our baggage was inspected for contraband, a cursory medical check made, and our living quarters assigned. We were to be housed in Barrack 16, Apartment 40. Fortunately, some friends who had arrived earlier found us and offered to help us locate our quarters.

It had rained the day before and the hundreds of people who had trampled on the track had turned it into a miserable mass of slippery mud. We made our way on it carefully, helping my mother who was dressed just as she would have been to go to church. She wore a hat, gloves, her good coat, and her Sunday shoes, because she would not have thought of venturing outside our house dressed in any other way.

Their baggage was inspected before they were assigned housing.

Hundreds of people had trampled on the track.

They were directed to an area beneath the grandstand.

People seek out friends and help them get settled.

She has combed and brushed her night-dark hair, and bathed rose petal sweet, and drawn white gloves on her small brown hands, and white shoes on her feet. which literary technique does the stanza demonstrat

Review rachel’s planned video presentation outline and answer the question

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.