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Backpack Literature : An Introduction to Fiction, Poetry, and Drama,9780321333735
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Backpack Literature : An Introduction to Fiction, Poetry, and Drama

by ;
Edition:
2nd
ISBN13:

9780321333735

ISBN10:
032133373X
Format:
Paperback
Pub. Date:
1/1/2008
Publisher(s):
Longman
List Price: $62.60
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Summary

The newest, smallest, and most economical member of the Kennedy/Gioia family, Backpack Literature is a brief paperback version of the discipline's most popular introduction to literature anthology. Like its bigger, bestselling predecessors, Backpack Literature features the authors' collective poetic voice which brings personal warmth and a human perspective to the discussion of literature, adding to students' interest in the readings.

Table of Contents

Preface xxi
FICTION 1(304)
1 Reading a Story
3(20)
FABLE, PARABLE, AND TALE
4(7)
W. Somerset Maugham, THE APPOINTMENT IN SAMARRA
4(1)
Aesop, THE FOX AND THE GRAPES
5(1)
Chuang Tzu, INDEPENDENCE
6(2)
Jakob and Wilhelm Grimm, GODFATHER DEATH
8(3)
PLOT
11(2)
THE SHORT STORY
13(8)
John Updike, A & P
15(6)
WRITING CRITICALLY
What's The Plot?
21(1)
WRITING ASSIGNMENT
22(1)
FURTHER SUGGESTIONS FOR WRITING
22(1)
2 Point of View
23(23)
William Faulkner, A ROSE FOR EMILY
30(9)
Edgar Allan Poe, THE TELL-TALE HEART
39(5)
WRITING CRITICALLY
How Point of View Shapes a Story
44(1)
WRITING ASSIGNMENT
44(1)
FURTHER SUGGESTIONS FOR WRITING
45(1)
3 Character
46(38)
Katherine Anne Porter, THE JILTING OF GRANNY WEATHERALL
50(9)
Alice Walker, EVERYDAY USE
59(9)
Raymond Carver, CATHEDRAL
68(14)
WRITING CRITICALLY
How Character Creates Action
82(1)
WRITING ASSIGNMENT
82(1)
FURTHER SUGGESTIONS FOR WRITING
82(2)
4 Setting
84(38)
Kate Chopin, THE STORM
87(5)
T. Coraghessan Boyle, GREASY LAKE
92(10)
Amy Tan, A PAIR OF TICKETS
102(18)
WRITING CRITICALLY
How Time and Place Set a Story
120(1)
WRITING ASSIGNMENT
120(1)
FURTHER SUGGESTIONS FOR WRITING
121(1)
5 Tone and Style
122(40)
Ernest Hemingway, A CLEAN, WELL-LIGHTED PLACE
127(5)
William Faulkner, BARN BURNING
132(15)
IRONY
147(12)
Ha Jin, SABOTEUR
149(10)
WRITING CRITICALLY
Be Style-Conscious
159(1)
WRITING ASSIGNMENT
160(1)
FURTHER SUGGESTIONS FOR WRITING
160(2)
6 Theme
162(24)
Chinua Achebe, DEAD MEN'S PATH
165(3)
Luke 15: 11-32, THE PARABLE OF THE PRODIGAL SON
168(2)
Charlotte Perkins Gilman, THE YELLOW WALLPAPER
170(14)
WRITING CRITICALLY
Stating the Theme
184(1)
WRITING ASSIGNMENT
185(1)
FURTHER SUGGESTIONS FOR WRITING
185(1)
7 Symbol
186(30)
John Steinbeck, THE CHRYSANTHEMUMS
189(10)
Shirley Jackson, THE LOTTERY
199(8)
Ursula K. Le Quin, THE ONES WHO WALK AWAY FROM OMELAS
207(7)
WRITING CRITICALLY
Recognizing Symbols
214(1)
WRITING ASSIGNMENT
215(1)
FURTHER SUGGESTIONS FOR WRITING
215(1)
8 Stories for Further Reading
216(89)
Margaret Atwood, HAPPY ENDINGS
216(4)
Kate Chopin, THE STORY OF AN HOUR
220(3)
Sandra Cisneros, HOUSE ON MANGO STREET
223(2)
Nathaniel Hawthorne, YOUNG GOODMAN BROWN
225(12)
Zora Neale Hurston, SWEAT
237(12)
James Joyce, ARABY
249(6)
Franz Kafka, BEFORE THE LAW
255(2)
Jamaica Kincaid, GIRL
257(2)
Joyce Carol Oates, WHERE ARE YOU GOING, WHERE HAVE YOU BEEN?
259(15)
Tim O'Brien, THE THINGS THEY CARRIED
274(16)
Flannery O'Connor, A GOOD MAN IS HARD TO FIND
290(15)
POETRY 305(260)
9 Reading a Poem
308(16)
William Butler Yeats, THE LAKE ISLE OF INNISFREE
310(3)
LYRIC POETRY
313(2)
D.H. Lawrence, PIANO
314(1)
Adrienne Rich, AUNT JENNIFER'S TIGERS
314(1)
NARRATIVE POETRY
315(3)
Anonymous, SIR PATRICK SPENCE
315(2)
Robert Frost, "OUT, OUT-"
317(1)
DRAMATIC POETRY
318(3)
Robert Browning, MY LAST DUCHESS
319(2)
WRITING CRITICALLY
Can a Poem Be Paraphrased?
321(1)
William Stafford, ASK ME
322(1)
William Stafford, A PARAPHRASE OF "ASK ME"
322(1)
WRITING ASSIGNMENT
323(1)
10 Listening to a Voice
324(25)
TONE
324(6)
Theodore Roethke, MY PAPA'S WALTZ
324(2)
Countee Cullen, FOR A LADY I KNOW
326(1)
Anne Bradstreet, THE AUTHOR TO HER BOOK
326(1)
Walt Whitman, TO A LOCOMOTIVE IN WINTER
327(1)
Emily Dickinson, I LIKE TO SEE IT LAP THE MILES
328(1)
Benjamin Mire Saenz, TO THE DESERT
329(1)
THE PERSON IN THE POEM
330(9)
Natasha Trethewey, WHITE LIES
330(2)
Edwin Arlington Robinson, LUKE HAVERGAL
332(1)
Ted Hughes, HAWK ROOSTING
333(1)
William Wordsworth, I WANDERED LONELY AS A CLOUD
334(1)
Dorothy Wordsworth, JOURNAL ENTRY
335(1)
Langston Hughes, THEME FOR ENGLISH B
336(1)
Anne Stevenson, SOUS-ENTENDU
337(1)
Francisco X. Alarcon, THE X IN MY NAME
338(1)
William Carlos Williams, THE RED WHEELBARROW
339(1)
IRONY
339(8)
Robert Creeley, OH NO
340(1)
W.H. Auden, THE UNKNOWN CITIZEN
341(1)
Sharon Olds, RITES OF PASSAGE
342(1)
Sarah N. Cleghorn, THE GOLF LINKS
343(1)
Wilfred Owen, DULCE ET DECORUM EST
344(1)
Rhina Espaillat, BILINGUAL/BILINGUE
345(1)
Thomas Hardy, THE WORKBOX
346(1)
WRITING CRITICALLY
Paying Attention to the Obvious
347(1)
WRITING ASSIGNMENT
347(1)
FURTHER SUGGESTIONS FOR WRITING
348(1)
11 Words
349(19)
LITERAL MEANING: WHAT A POEM SAYS FIRST
349(4)
William Carlos Williams, THIS IS JUST TO SAY
350(1)
Robert Graves, DOWN, WANTON, DOWN!
351(1)
John Donne, BATTER MY HEART, THREE-PERSONED GOD, FOR YOU
352(1)
THE VALUE OF A DICTIONARY
353(3)
J.V. Cunningham, FRIEND, ON THIS SCAFFOLD THOMAS MORE LIES DEAD
355(1)
Carl Sandburg, GRASS
355(1)
WORD CHOICE AND WORD ORDER
356(8)
Robert Herrick, UPON JULIA'S CLOTHES
358(2)
Kay Ryan, BLANDEUR
360(1)
Thomas Hardy, THE RUINED MAID
361(1)
Richard Eberhart, THE FURY OF AERIAL BOMBARDMENT
362(1)
Wendy Cope, LONELY HEARTS
363(1)
FOR REVIEW AND FURTHER STUDY
E.E. Cummings, ANYONE LIVED IN A PRETTY HOW TOWN
364(1)
Anonymous, CARNATION MILK
365(1)
Lewis Carroll, JABBERWOCKY
365(2)
WRITING CRITICALLY
How Much Difference Does a Word Make?
367(1)
WRITING ASSIGNMENT
367(1)
FURTHER SUGGESTIONS FOR WRITING
367(1)
12 Saying and Suggesting
368(9)
John Masefield, CARGOES
369(1)
William Blake, LONDON
370(2)
Wallace Stevens, DISILLUSIONMENT OF TEN O'CLOCK
372(1)
Timothy Steele, EPITAPH
373(1)
Robert Frost, FIRE AND ICE
373(1)
Alfred, Lord Tennyson, TEARS, IDLE TEARS
374(1)
Emily Dickinson, WILD NIGHTS - WILD NIGHTS!
374(1)
WRITING CRITICALLY
The Ways a Poem Suggests
375(1)
WRITING ASSIGNMENT
376(1)
FURTHER SUGGESTIONS FOR WRITING
376(1)
13 Imagery
377(12)
Ezra Pound, IN A STATION OF THE METRO
377(1)
Taniguchi Buson, THE PIERCING CHILL I FEEL
377(2)
T.S. Eliot, THE WINTER EVENING SETTLES DOWN
379(1)
Theodore Roethke, ROOT CELLAR
379(1)
Elizabeth Bishop, THE FISH
380(2)
Charles Simic, FORK
382(1)
Gerard Manley Hopkins, PIED BEAUTY
383(1)
ABOUT HAIKU
383(3)
Arakida Moritake, THE FALLING FLOWER
383(1)
Matsuo Basho, HEAT-LIGHTNING STREAK
384(1)
Matsuo Basho, IN THE OLD STONE POOL
384(1)
Taniguchi Buson, ON THE ONE-TON TEMPLE BELL
385(1)
Taniguchi Buson, I GO
385(1)
Kobayashi Issa, ONLY ONE GUY
385(1)
Kobayashi Issa, CRICKET
385(1)
Etheridge Knight, Lee Gurga, Penny Harter, Jennifer Brutschy, A SELECTION OF HAIKU
385(1)
FOR REVIEW AND FURTHER STUDY
John Keats, BRIGHT STAR! WOULD I WERE STEADFAST AS THOU ART
386(1)
T.E. Hulme, IMAGE
386(1)
Robert Bly, DRIVING TO TOWN LATE TO MAIL A LETTER
387(1)
Stevie Smith, NOT WAVING BUT DROWNING
387(1)
WRITING CRITICALLY
Analyzing Images
387(1)
WRITING ASSIGNMENT
388(1)
FURTHER SUGGESTIONS FOR WRITING
388(1)
14 Figures of Speech
389(14)
WHY SPEAK FIGURATIVELY?
389(3)
Alfred, Lord Tennyson, THE EAGLE
390(1)
William Shakespeare, SHALL I COMPARE THEE TO A SUMMER'S DAY?
390(1)
Howard Moss, SHALL I COMPARE THEE TO A SUMMER'S DAY?
391(1)
METAPHOR AND SIMILE
392(4)
Alfred, Lord Tennyson, FLOWER IN THE CRANNIED WALL
393(1)
William Blake, To SEE A WORLD IN A GRAIN OF SAND
394(1)
Sylvia Plath, METAPHORS
394(1)
N. Scott Momaday, SIMILE
395(1)
OTHER FIGURES
396(3)
James Stephens, THE WIND
397(2)
Margaret Atwood, YOU FIT INTO ME
399(1)
John Ashbery, THE CATHEDRAL IS
399(1)
FOR REVIEW AND FURTHER STUDY
Denise Levertov, LEAVING FOREVER
399(1)
Jane Kenyon, THE SUITOR
400(1)
Robert Frost, THE SECRET SITS
401(1)
A.R. Ammons, COWARD
401(1)
WRITING CRITICALLY
How Metaphors Enlarge a Poem's Meaning
401(1)
WRITING ASSIGNMENT
402(1)
FURTHER SUGGESTIONS FOR WRITING
402(1)
15 Sound
403(15)
SOUND AS MEANING
403(4)
Alexander Pope, TRUE EASE IN WRITING COMES FROM ART, NOT CHANCE
404(2)
William Butler Yeats, WHO GOES WITH FERGUS?
406(1)
John Updike, RECITAL
407(1)
ALLITERATION AND ASSONANCE
407(3)
A.E. Housman, EIGHT O'CLOCK
408(1)
Robert Herrick, UPON JULIA'S VOICE
409(1)
Alfred, Lord Tennyson, THE SPLENDOR FALLS ON CASTLE WALLS
409(1)
RIME
410(5)
William Cole, ON MY BOAT ON LAKE CAYUGA
411(2)
Hilaire Belloc, THE HIPPOPOTAMUS
413(1)
Gerard Manley Hopkins, GOD'S GRANDEUR
414(1)
READING AND HEARING POEMS ALOUD
415(2)
Michael Stillman, IN MEMORIAM JOHN COLTRANE
416(1)
William Shakespeare, FULL FATHOM FIVE THY FATHER LIES
416(1)
WRITING CRITICALLY
Is It Possible to Write About Sound?
417(1)
WRITING ASSIGNMENT
417(1)
FURTHER SUGGESTIONS FOR WRITING
417(1)
16 Rhythm
418(17)
STRESSES AND PAUSES
418(6)
Gwendolyn Brooks, WE REAL COOL
423(1)
Alfred, Lord Tennyson, BREAK, BREAK, BREAK
423(1)
METER
424(9)
Max Beerbohm, ON THE IMPRINT OF THE FIRST ENGLISH EDITION OF THE WORKS OF MAX BEERBOHM
424(6)
Edna St. Vincent Millay, COUNTING-OUT RHYME
430(1)
A.E. Housman, WHEN I WAS ONE-AND-TWENTY
430(1)
Walt Whitman, BEAT! BEAT! DRUMS!
431(1)
David Mason, SONG OF THE POWERS
432(1)
WRITING CRITICALLY
Freeze-Framing the Sound
433(1)
WRITING ASSIGNMENT
433(1)
FURTHER SUGGESTIONS FOR WRITING
434(1)
17 Closed Form
435(18)
FORMAL PATTERNS
436(4)
John Keats, THIS LIVING HAND, NOW WARM AND CAPABLE
437(2)
Robert Graves, COUNTING THE BEATS
439(1)
BALLADS
440(4)
Anonymous, BONNY BARBARA ALLAN
440(3)
Dudley Randall, BALLAD OF BIRMINGHAM
443(1)
THE SONNET
444(4)
William Shakespeare, LET ME NOT TO THE MARRIAGE OF TRUE MINDS
445(1)
Edna St. Vincent Millay, WHAT LIPS MY LIPS HAVE KISSED, AND WHERE, AND WHY
445(1)
Robert Frost, ACQUAINTED WITH THE NIGHT
446(1)
Claude McKay, AMERICA
447(1)
Kim Addonizio, FIRST POEM FOR YOU
447(1)
R.S. Gwynn, SCENES FROM THE PLAYROOM
448(1)
OTHER FORMS
448(4)
Dylan Thomas, DO NOT GO GENTLE INTO THAT GOOD NIGHT
449(1)
Robert Bridges, TRIOLET
450(1)
Elizabeth Bishop, SESTINA
450(2)
WRITING CRITICALLY
Turning Points
452(1)
WRITING ASSIGNMENT
452(1)
FURTHER SUGGESTIONS FOR WRITING
452(1)
18 Open Form
453(14)
Denise Levertov, ANCIENT STAIRWAY
453(4)
E.E. Cummings, BUFFALO BILL'S
457(1)
W.S. Merwin, FOR THE ANNIVERSARY OF MY DEATH
457(1)
Stephen Crane, THE HEART
458(1)
Walt Whitman, CAVALRY CROSSING A FORD
458(1)
Ezra Pound, THE GARRET
459(1)
Wallace Stevens, THIRTEEN WAYS OF LOOKING AT A BLACKBIRD
459(3)
SEEING THE LOGIC OF OPEN FORM VERSE
462(3)
E.E. Cummings, IN JUST-
462(1)
Carole Satyamurti, I SHALL PAINT MY NAILS RED
463(1)
Lorine Niedecker, POPCORN-CAN COVER
463(1)
Yusef Komunyakaa, FACING IT
464(1)
Langston Hughes, I, TOO
465(1)
WRITING CRITICALLY
Lining Up for Free Verse
465(1)
WRITING ASSIGNMENT
466(1)
FURTHER SUGGESTIONS FOR WRITING
466(1)
19 Symbol
467(12)
T.S. Eliot, THE Boston Evening Transcript
468(1)
Emily Dickinson, THE LIGHTNING IS A YELLOW FORK
469(2)
Thomas Hardy, NEUTRAL TONES
471(1)
Matthew 13:24-30, THE PARABLE OF THE GOOD SEED
472(1)
George Herbert, THE WORLD
473(1)
Robert Frost, THE ROAD NOT TAKEN
474(1)
FOR REVIEW AND FURTHER STUDY
Robinson Jeffers, THE BEAKS OF EAGLES
475(1)
Sara Teasdale, THE FLIGHT
476(1)
Ted Koosor, CARRIE
476(1)
Wallace Stevens, ANECDOTE OF THE JAR
477(1)
WRITING CRITICALLY
How to Read a Symbol
477(1)
WRITING ASSIGNMENT
478(1)
FURTHER SUGGESTIONS FOR WRITING
478(1)
20 Myth and Narrative
479(15)
Robert Frost, NOTHING GOLD CAN STAY
481(1)
Thomas Hardy, THE OXEN
481(1)
William Wordsworth, THE WORLD IS TOO MUCH WITH US
482(1)
H.D., HELEN
483(1)
ARCHETYPE
483(2)
Louise Bogan, MEDUSA
484(1)
MYTH AND POPULAR CULTURE
485(7)
Anne Sexton, CINDERELLA
486(3)
Sylvia Plath, LADY LAZARUS
489(3)
WRITING CRITICALLY
Demystifying Myth
492(1)
WRITING ASSIGNMENT
493(1)
FURTHER SUGGESTIONS FOR WRITING
493(1)
21 Poems for Further Reading
494(71)
Sherman Alexie, INDIAN BOY LOVE SONG
494(1)
Anonymous, LORD RANDALL
495(1)
Matthew Arnold, DOVER BEACH
496(1)
W.H. Auden, MUSE DES BEAUX ARTS
497(1)
Elizabeth Bishop, ONE ART
498(1)
William Blake, THE TYGER
499(1)
Gwendolyn Brooks, THE PREACHER RUMINATES: BEHIND THE SERMON
500(1)
Elizabeth Barrett Browning, HOW DO I LOVE THEE? LET ME COUNT THE WAYS
501(1)
Judith Ortiz Cofer, QUINCEANERA
501(1)
Samuel Taylor Coleridge, KUBLA KHAN
502(2)
Billy Collins, CARE AND FEEDING
504(1)
E.E. Cummings, SOMEWHERE I HAVE NEVER TRAVELLED, GLADLY BEYOND
504(1)
Emily Dickinson, THE SOUL SELECTS HER OWN SOCIETY
505(1)
Emily Dickinson, I HEARD A FLY BUZZ - WHEN I DIED
506(1)
Emily Dickinson, BECAUSE I COULD NOT STOP FOR DEATH
506(1)
John Donne, DEATH BE NOT PROUD
507(1)
Rita Dove, SUMMIT BEACH, 1921
508(1)
T.S. Eliot, THE LOVE SONG OF J. ALFRED PRUFROCK
509(4)
Robert Frost, MENDING WALL
513(1)
Robert Frost, STOPPING BY WOODS ON A SNOWY EVENING
514(1)
Allen Ginsberg, A SUPERMARKET IN CALIFORNIA
515(1)
Dana Gioia, CALIFORNIA HILLS IN AUGUST
516(1)
Thomas Hardy, THE CONVERGENCE OF THE TWAIN
516(2)
Robert Hayden, THOSE WINTER SUNDAYS
518(1)
Seamus Heaney, DIGGING
519(1)
George Herbert, EASTER WINGS
520(1)
Robert Herrick, To THE VIRGINS, TO MAKE MUCH OF TIME
520(1)
Gerard Manley Hopkins, SPRING AND FALL
521(1)
Gerard Manley Hopkins, THE WINDHOVER
521(1)
A.E. Housman, TO AN ATHLETE DYING YOUNG
522(1)
Langston Hughes, THE NEGRO SPEAKS OF RIVERS
523(1)
Langston Hughes, HARLEM [DREAM DEFERRED
524(1)
Randall Jarrell, THE DEATH OF THE BALL TURRET GUNNER
524(1)
Robinson Jeffers, TO THE STONE-CUTTERS
524(1)
Ben Jonson, ON MY FIRST SON
525(1)
John Keats, ODE ON A GRECIAN URN
525(2)
John Keats, ON FIRST LOOKING INTO CHAPMAN'S HOMER
527(1)
Philip Larkin, HOME IS SO SAD
528(1)
Shirley Geok-lin Lim, LEARNING TO LOVE AMERICA
528(1)
Robert Lowell, SKUNK HOUR
529(2)
Andrew Marvell, TO HIS COY MISTRESS
531(1)
John Milton, WHEN I CONSIDER HOW MY LIGHT IS SPENT
532(1)
Marianne Moore, POETRY
533(1)
Marilyn Nelson, A STRANGE BEAUTIFUL WOMAN
534(1)
Lorine Niedecker, SORROW MOVES IN WIDE WAVES
535(1)
Sharon Olds, THE ONE GIRL AT THE BOYS' PARTY
535(1)
Wilfred Owen, ANTHEM FOR DOOMED YOUTH
536(1)
Linda Pastan, ETHICS
537(1)
Octavio Paz, CON LOS OJOS CERRADOS
538(1)
Octavio Paz, Translated by Eliot Weinberger, WITH EYES CLOSED
538(1)
Sylvia Plath, DADDY
538(3)
Henry Reed, NAMING OF PARTS
541(1)
Adrienne Rich, LIVING IN SIN
542(1)
Edwin Arlington Robinson, MINIVER CHEEVY
543(1)
Theodore Roethke, ELEGY FOR JANE
544(1)
William Shakespeare, THAT TIME OF YEAR THOU MAYST IN ME BEHOLD
545(1)
William Shakespeare, MY MISTRESS' EYES ARE NOTHING LIKE THE SUN
546(1)
Percy Bysshe Shelley, OZYMANDIAS
546(1)
Cathy Song, STAMP COLLECTING
547(1)
William Stafford, THE FARM ON THE GREAT PLAINS
548(1)
Wallace Stevens, THE EMPEROR OF ICE-CREAM
549(1)
Alfred, Lord Tennyson, ULYSSES
550(2)
Dylan Thomas, FERN HILL
552(1)
John Updike, EX-BASKETBALL PLAYER
553(1)
Amy Uyematsu, THE TEN MILLION FLAMES OF LOS ANGELES
554(2)
Derek Walcott, THE VIRGINS
556(1)
Walt Whitman, I HEAR AMERICA SINGING
557(1)
Richard Wilbur, THE WRITER
558(1)
William Carlos Williams, SPRING AND ALL
559(1)
William Wordsworth, COMPOSED UPON WESTMINSTER BRIDGE
560(1)
James Wright, AUTUMN BEGINS IN MARTINS FERRY, OHIO
561(1)
William Butler Yeats, SAILING TO BYZANTIUM
561(2)
William Butler Yeats, WHEN YOU ARE OLD
563(2)
DRAMA 565(502)
22 Reading a Play
567(31)
A PLAY IN ITS ELEMENTS
569(18)
Susan Glaspell, TRIFLES
570(17)
TRAGEDY AND COMEDY
587(10)
Jane Martin, BEAUTY
591(6)
WRITING CRITICALLY
Conflict Resolution
597(1)
WRITING ASSIGNMENT
597(1)
FURTHER SUGGESTIONS FOR WRITING
597(1)
23 The Theater of Sophocles
598(60)
THE THEATER OF SOPHOCLES
598(1)
STAGING
598(2)
THE CIVIC ROLE OF GREEK DRAMA
600(1)
ARISTOTLE'S CONCEPT OF TRAGEDY
601(3)
SOPHOCLES
604(1)
THE ORIGINS OF OEDIPUS THE KING
604(52)
Sophocles, OEDIPUS THE KING (Translated by Robert Fagles)
605(51)
WRITING CRITICALLY
Some Things Change. Some Things Don't
656(1)
WRITING ASSIGNMENT
656(1)
FURTHER SUGGESTIONS FOR WRITING
657(1)
24 The Theater of Shakespeare
658(117)
THE THEATER OF SHAKESPEARE
658(2)
WILLIAM SHAKESPEARE
660(1)
A NOTE ON OTHELLO
660(113)
William Shakespeare, OTHELLO, THE MOOR OF VENICE
661(112)
WRITING CRITICALLY
Breaking the Language Barrier
773(1)
WRITING ASSIGNMENT
773(1)
FURTHER SUGGESTIONS FOR WRITING
774(1)
25 The Modern Theater
775(90)
REALISM AND NATURALISM
775(69)
Henrik Ibsen, A DOLL's HOUSE (Translated by James McFarlane)
778(66)
TRAGICOMEDY AND THE ABSURD
844(19)
Milcha Sanchez-Scott, THE CUBAN SWIMMER
847(16)
WRITING CRITICALLY
What's So Realistic About Realism?
863(1)
WRITING ASSIGNMENT
863(1)
FURTHER SUGGESTIONS FOR WRITING
864(1)
26 Plays for Further Reading
865(202)
Terrence McNally, ANDRE'S MOTHER
865(4)
Arthur Miller, DEATH OF A SALESMAN
869(82)
Tennessee Williams, THE GLASS MENAGERIE
951(57)
August Wilson, JOE TURNER'S COME AND GONE
1008(59)
WRITING 1067
27 Writing About Literature
1069(25)
BEGINNING
1069(1)
USING CRITICAL SOURCES
1070(1)
GUARDING ACADEMIC INTEGRITY
1071(1)
DISCOVERING ESSAY IDEAS
1072(3)
DRAFTING AND REVISING, OR CREATIVITY VS. ANALYSIS
1075(2)
THE FORM OF YOUR FINISHED PAPER
1077(1)
ACKNOWLEDGING AND DOCUMENTING SOURCES
1078(7)
CONCLUDING THOUGHTS
1085(1)
REFERENCE GUIDE FOR CITATIONS
1086(8)
28 Writing About a Story
1094(13)
EXPLICATING
1094(5)
Sample Student Essay (Explication)
1095(4)
ANALYZING
1099(4)
Sample Student Essay (Analysis)
1100(3)
COMPARING AND CONTRASTING
1103(1)
SUGGESTIONS FOR WRITING
1104(3)
29 Writing About a Poem
1107(20)
EXPLICATING
1108(6)
Robert Frost, DESIGN
1109(1)
Sample Student Essay (Explication)
1109(5)
ANALYZING
1114(3)
Sample Student Essay (Analysis)
1115(2)
COMPARING AND CONTRASTING
1117(4)
Abbie Huston Evans, WING-SPREAD
1118(1)
Sample Student Essay (Comparison)
1119(2)
How TO QUOTE A POEM
1121(3)
SUGGESTIONS FOR WRITING
1124(3)
30 Writing About a Play
1127
METHODS
1127(3)
HOW TO QUOTE A PLAY
1129(1)
WRITING ASSIGNMENT
1130(6)
Sample Student Essay, Othello: Tragedy or Soap Opera?
1131(5)
SUGGESTIONS FOR WRITING
1136
Literary Acknowledgments A1
Photo Acknowledgments A8
Index of First Lines of Poetry I1
Index of Authors and Titles I4
Index of Literary Terms
(inside back
List of Authors
(inside fron


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