| Preface |
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| 1. Understanding Literature |
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| Imaginative Literature |
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| Conventional Themes |
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| The Literary Canon |
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| Luisa Valenzuela, All about Suicide |
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| Wole Soyinka, Telephone Conversation |
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| Thinking Critically |
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| Interpreting Literature |
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| Evaluating Literature |
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| The Function of Literary Criticism |
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| Checklist: Evaluating Literary Criticism |
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| 2. Reading and Writing About Literature |
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| Reading Literature |
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| Previewing |
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| Highlighting |
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| Checklist: Using Highlighting Symbols |
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| Maya Angelou, My Arkansas |
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| Annotating |
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| Writing About Literature |
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| Planning an Essay |
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| Considering your Audience |
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| Understanding Your Purpose |
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| Writing To Respond |
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| Writing To Interpret |
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| Writing To Evaluate |
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| Choosing a Topic |
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| Finding Something to Say |
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| Brainstorming |
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| Keeping a Journal |
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| Seeing Connections |
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| Listing |
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| Deciding on a Thesis |
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| Preparing an Outline |
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| Drafting an Essay |
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| Revising and Editing an Essay |
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| Strategies for Revision |
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| The Revision Process |
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| Thesis Statement |
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| Support |
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| Topic Sentences |
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| Introductions and Conclusions |
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| Sentences and Words |
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| Using and Documenting Sources |
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| Checklist: Using Sources |
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| Checklist: Conventions for Writing About Literature |
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| Exercise: Two Student Papers |
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| Student Paper: "Initiation into Adulthood" |
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| Student Paper: "Hard Choices" |
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| FICTION |
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| 3. Understanding Fiction |
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| Defining Fiction |
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| The Short Story |
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| *Margaret Atwood, Happy Endings |
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| Gary Gildner, Sleepytime Gal |
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| A Final Note |
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| 4. Reading and Writing About Fiction |
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| Reading Fiction |
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| Active Reading |
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| Alberto Alvaro RĂos, The Secret Lion |
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| Previewing |
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| Highlighting and Annotating |
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| Writing About Fiction |
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| Planning an Essay |
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| Choosing a Topic |
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| Finding Something to Say |
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| Brainstorming |
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| Seeing Connections |
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| Listing |
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| Deciding on a Thesis |
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| Preparing an Outline |
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| Drafting an Essay |
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| Student Paper: Symbols in "The Secret Lion" First Draft |
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| First Draft Commentary |
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| Revising and Editing an Essay |
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| Student Paper: Symbols in "The Secret Lion" Second Draft |
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| Second Draft Commentary |
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| Student Paper: Symbols in "The Secret Lion" Final Draft |
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| Final Draft Commentary |
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| 5. Plot |
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| Conflict |
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| Stages of Plot |
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| Order and Sequence |
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| A Final Note |
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| Checklist: Writing about Plot |
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| Kate Chopin, The Story of an Hour |
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| *Stephen Dobyns, Kansas |
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| William Faulkner, A Rose for Emily |
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| Lorrie Moore, How to Talk to Your Mother (Notes) |
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| Writing Suggestions: Plot |
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| 6. Character |
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| Round and Flat Characters |
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| Dynamic and Static Characters |
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| Motivation |
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| Checklist: Writing About Character |
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| John Updike, A and P |
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| Katherine Mansfield, Miss Brill |
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| Charles Baxter, Gryphon |
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| *Mary Ladd Gavell, The Swing |
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| Writing Suggestions: Character |
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| 7. Setting |
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| Historical Setting |
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| Geographical Setting |
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| Physical Setting |
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| Checklist: Writing About Setting |
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| Sherman Alexie, This Is What It Means to Say Phoenix, Arizona |
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| Charlotte Perkins Gilman, The Yellow Wallpaper |
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| *Ralph Ellison, Battle Royal |
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| Tillie Olsen, I Stand Here Ironing |
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| Writing Suggestions: Setting |
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| 8. Point of View |
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| First Person Narrator |
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| Unreliable Narrators |
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| Third Person Narrator |
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| Omniscient |
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| Limited Omniscient |
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| Objective |
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| Selecting an Appropriate Point of View |
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| Limited Omniscient Point of View |
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| First-Person Point of View (Child) |
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| First-Person Point of View (Adult) |
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| Omniscient Point of View |
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| Selecting An Appropriate Point of View: Review |
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| Checklist: Writing about Point of View |
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| Edgar Allen Poe, The Cask of Amontillado |
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| Richard Wright, Big Black Good Man |
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| *Gish Jen, Chin |
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| William Faulkner, Barn Burning |
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| Writing Suggestions: Point of View |
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| 9. Style, Tone, and Language |
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| Style and Tone |
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| The Uses of Language |
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| Formal and Informal Diction |
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| Imagery |
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| Figures of Speech |
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| A Final Note |
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| Checklist: Writing about Style, Tone, and Language |
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| James Joyce, Araby |
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| *Andrea Barrett, The Littoral Zone |
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| Ernest Hemingway, A Clean, Well-Lighted Place |
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| Tim O'Brien, The Things They Carried |
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| Writing Suggestions: Style, Tone, and Language |
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| 10. Symbol and Allegory |
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| Literary Symbols |
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| Recognizing Symbols |
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| The Purpose of Symbols |
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| Allegory |
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| Checklist: Writing About Symbol and Allegory |
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| Nathaniel Hawthorne, Young Goodman Brown |
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| Shirley Jackson, The Lottery |
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| Alice Walker, Everyday Use |
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| *Raymond Carver, Cathedral |
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| Writing Suggestions: Symbol and Allegory |
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| Theme |
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| Interpreting Themes |
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| Identifying Themes |
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| Checklist: Writing About Theme |
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| David Michael Kaplan, Doe Season |
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| D |
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| H |
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| Lawrence, The Rocking-Horse Winner |
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| Eudora Welty, A Worn Path |
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| *Rick Bass, The Fireman |
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| Writing Suggestions: Theme |
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| 11. Joyce Carol Oates' Where are You Going, Where have You Been?: A Casebook for Reading Research, and Writing |
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| Joyce Carol Oates, Where Are You Going, Where Have You Been? Joyce Carol Oates, When Characters from the Page Are Made Flesh on the Screen |
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| Gretchen Schulz and R |
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| J |
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| R |
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| Rockwood, From In Fairyland, without a Map: Connie's Exploration Inward in Joyce Carol Oates' "Where Are You Going, Where Have You Been?" Mike Tierce and John Michael Grafton, From Connie's Tambourine Man: A New Reading of Arnold Friend" |
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| Bob Dylan, It's All Over Now, Baby Blue |
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| Joyce M |
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| Wegs, "Don't You Know Who I Am?" The Grotesque in Oates's "Where Are You Going, Where Have You Been?" Laura Kalpakian, Where Are you Going, Where Have You Been (book review) |
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| Stephen Slimp, Oates's "Where Are You Going, Where Have You Been?" Don Moser, The Pied Piper of Tuscon |
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| The Pied Piper of Hamelin |
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| Charles Perrault, Little Red Riding Hood |
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| Topics for Further Research |
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| Student Paper |
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| 12. Fiction for Further Reading |
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| Chinua Achebe, Dead Man's Path |
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| *Toni Cade Bambara, The Lesson |
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| T |
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| oraghessan Boyle, Greasy Lake |
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| Junot Diaz, Aguantado |
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| Chitra Banerjee Divakaruni, The Disappearance |
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| Louise Erdrich, Fleur |
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| Gabriel GarcĂa Marquez, A Very Old Man with Enormous Wings: A Tale for Children |
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| Nathaniel Hawthorne, The Birthmark |
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| James Joyce, Eveline |
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| Jamaica Kincaid, Girl |
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| Alice Munro, Boys and Girls |
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| Flannery O'Connor, A Good Man is Hard to Find |
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| Katherine Anne Porter, The Jilting of Granny Weatherall |
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| Richard Russo, Dog |
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| Amy Tan, Two Kinds |
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| Anne Tyler, Teenage Wasteland |
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| POETRY |
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| 13. Understanding Poetry |
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| Nikki Giovanni, Poetry |
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| Archibald MacLeish, Ars Poetica |
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| Marianne Moore, Poetry |
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| Defining Poetry |
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| William Shakespeare, That Time of Year Thou Mayst in Me Behold |
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| Louis Zukofsky, I Walk in the Old Street |
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| E |
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| E |
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| Cummings, l-a |
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| Approaching Poetry |
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| Recognizing Kinds of Poetry |
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| Narrative Poetry |
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| Lyric Poetry |
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| 14. Discovering Themes in Poetry |
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| Adrienne Rich, A Woman Mourned by Daughters |
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| Raymond Carver, Photograph of my Father in His Twenty Second Year |
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| Judith Ortiz Cofer, My Father In the Navy: A Childhood Memory |
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| Poems About Parents |
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| Theodore Roethke, My Papa's Waltz |
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| Dylan Thomas, Do Not Go Gentle into That Good Night |
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| Lucille Clifton, My Mama Moved among the Days |
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| Robert Hayden, Those Winter Sundays |
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| Seamus Heaney, Digging |
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| *Yehuda Amichai, My Father |
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| *Jill Bialosky, The Boy Beheld his Mother's Past |
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| Poems about Love |
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| Christopher Marlowe, The Passionate Shepherd to His Love |
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| Sir Walter Raleigh, The Nymph's Reply to the Shepherd |
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| Thomas Campion, There Is a Garden in Her Face |
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| William Shakespeare, My Mistress' Eyes Are Nothing like the Sun |
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| Robert Browning, Meeting at Night |
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| Robert Browning, Parting At Morning |
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| Elizabeth Barrett Browning, How Do I Love Thee? Edna St |
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| Vincent Millay, What Lips My Lips Have Kissed |
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| Dorothy Parker, General Review of the Sex Situation |
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| Sylvia Plath, Wreath for a Bridal |
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| Ted Hughes, A Pink Wool Knitted Dress |
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| Poems About War |
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| Rupert Brooke, The Soldier |
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| Wilfred Owen, Anthem for Doomed Youth |
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| William Butler Yeats, An Irish Airman Foresees His Death |
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| Robert Lowell, For the Union Dead |
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| Denise Levertov, What Were They Like |
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| *Carl Phillips, On the Notion of Tenderness in Wartime |
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| Boris Slutsky, How Did They Kill My Grandmother |
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| Yusef Komunyakaa, Facing It |
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| *Wislawa Szymborska, The End and the Beginning |
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| 15. Reading and Writing About Poetry |
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| Reading Poetry |
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| Active Reading |
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| Previewing |
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| Highlighting and Annotating |
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| Robert Hayden, Those Winter Sundays |
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| Seamus Heaney, Digging |
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| Writing About Poetry |
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| Planning an Essay |
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| Choosing a Topic |
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| Seeing Connections |
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| Listing |
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| Deciding on a Thesis |
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| Preparing an Outline |
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| Drafting an Essay |
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| Student Paper: A Comparison of Two Poems about Fathers (First Draft) |
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| First Draft Commentary |
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| Revising and Editing an Essay |
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| Student Paper: A Comparison of Two Poems about Fathers (Second Draft) |
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| Second Draft Commentary |
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| Student Paper, Digging For Memories (Final Draft) |
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| Final Draft Commentary |
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| 16. Voice |
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| Emily Dickinson, I'm Nobody! Who Are You? The Speaker in the Poem |
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| Louise Gluck, Gretel in Darkness |
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| Leonard Adame, My Grandmother Would Rock Quietly and Hum |
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| Langston Hughes, Negro |
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| Robert Browning, My Last Duchess |
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| Janice Mirikitani, Suicide Note |
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| *James Tate, Nice Car, Camille |
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| *Dorianne Laux, The Shipfitter's Wife |
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| The Tone of the Poem |
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| Robert Frost, Fire and Ice |
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| Thomas Hardy, The Man He Killed |
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| Amy Lowell, Patterns |
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| *Adam Zagajewski, Try to Praise the Mutilated World |
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| William Wordsworth, The World Is Too Much with Us |
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| Sylvia Plath, Morning Song |
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| Robert Herrick, To the Virgins, to Make Much of Time |
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| *Steve Kowit, The Grammar Lesson |
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| Irony |
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| Robert Browning, Porphyria's Lover |
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| Percy Bysshe Shelley, Ozymandias |
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| Ariel Dorfman, Hope |
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| W |
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| Auden, The Unknown Citizen |
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| Dudley Randall, Ballad of Birmingham |
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| *Sherman Alexie, How to Write the Great American Indian Novel |
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| *Rachel Rose, What We Heard about the Japanese |
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| *Rachel Rose, What the Japanese Perhaps Heard |
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| Checklist: Writing about Voice |
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| Writing Suggestions: Voice |
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| 17. Word Choice, Word Order |
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| Sipho Sepamla, Words, Words, Words |
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| Word Choice |
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| Walt Whitman, When I Heard the Learn'd Astronomer |
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| William Stafford, For the Grave of Daniel Boone |
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| James Wright, Autumn Begins in Martins Ferry, Ohio |
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| Adrienne Rich, Living in Sin |
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| E |
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| E |
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| Cummings, In Just- |
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| *Robert Pinsky, ABC |
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| Levels of Diction |
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| Margaret Atwood, The City Planners |
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| Jim Sagel, Baca Grande |
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| *Mark Halliday, The Value of Education |
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| Richard Wilbur, For the Student Strikers |
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| Charles Bukowski, Dog Fight |
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| Word Order |
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| Edmund Spenser, One Day I Wrote Her Name upon the Strand |
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| E |
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| E |
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| Cummings, Anyone Lived In A Pretty How Town |
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| A |
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| E |
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| Housman, To An Athlete Dying Young |
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| Emily Dickinson, My Life Had Stood--A Loaded Gun |
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| Checklist: Writing About Word Choice, Word Order |
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| Writing Suggestions: Word Choice, Word Order |
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| 18. Imagery |
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| Jane Flanders, Cloud Painter |
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| William Carlos Williams, Red Wheelbarrow |
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| Ezra Pound, In a Station of the Metro |
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| Gary Snyder, Some Good Things to be Said for the Iron Age |
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| Suzanne E |
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| Berger, The Meal |
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| William Carlos Williams, The Great Figure |
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| *Michael Chitwood, Division |
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| *Lam Thi My Da, Washing Rice |
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| *Chitra Banerjee Divakaruni, The Alley of Flowers |
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| Robert Frost, Nothing Gold Can Stay |
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| Jean Toomer, Reapers |
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| Wilfred Owen, Dulce et Decorum est |
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| Checklist: Writing about Imagery |
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| Writing Suggestions: Imagery |
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| 19. Figures of Speech |
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| William Shakespeare, Shall I Compare Thee to a Summer's Day? Simile, Metaphor, and Personification |
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| Langston Hughes, Harlem |
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| Lawrence Ferlinghetti, Constantly Risking Absurdity |
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| Audre Lorde, Rooming Houses Are Old Women |
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| Robert Burns, Oh, My Love Is like A Red, Red, Rose |
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| John Updike, Ex-Basketball Player |
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| Randall Jarrell, The Death of the Ball Turret Gunner |
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| Marge Piercy, The Secretary Chant |
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| John Donne, A Valediction: Forbidding Mourning |
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| *E |
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| White, Natural History |
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| *Martin Espada, My Father as Guitar |
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| Hyperbole and Understatement |
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| Sylvia Plath, Daddy |
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| David Huddle, Holes Commence Falling |
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| Anne Bradstreet, To My Dear and Loving Husband |
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| Andrew Marvell, To His Coy Mistress |
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| Robert Frost, Out, Out-- |
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| Donald Hall, My Son, My Executioner |
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| Margaret Atwood, You Fit Into Me |
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| *Sherod Santos, Spring Elegy |
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| Metonymy and Synecdoche |
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| Richard Lovelace, To Lucasta Going to the Wars |
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| *Thomas Lux, Henry Clay's Mouth |
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| Apostrophe |
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| Sonia Sanchez, On Passing thru Morgantown, Pa |
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| *Allen Ginsberg, A Supermarket in California |
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| Checklist: Writing About Figures of Speech |
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| Writing Suggestions: Figures of Speech |
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| 20. Sound |
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| Walt Whitman, Had I the Choice |
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| Rhythm |
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| Gwendolyn Brooks, Sadie and Maud |
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| Meter |
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| Emily Dickinson, I Like to See It Lap the Miles |
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| Adrienne Rich, Aunt Jennifer's Tigers |
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| Etheridge Knight, For Malcolm, a Year After |
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| Alliteration and Assonance |
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| Alfred, Lord Tennyson, The Eagle |
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| N |
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| Scott Momaday, Comparatives |
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| Robert Herrick, Delight in Disorder |
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| Rhyme |
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| Ogden Nash, The Llama |
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| Richard Wilbur, A Sketch |
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| Gerald Manley Hopkins, Pied Beauty |
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| W |
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| H |
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| Auden, As I Walked Out One Evening |
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| *Lydia Davis, A Mown Lawn |
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| *Alan Shapiro, A Parting Gift |
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| *Mona Van Duyn, The Beginning |
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| Lewis Carroll, Jabberwocky |
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| Checklist: Writing About Sound |
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| Writing Suggestions: Sound |
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| 21. Form |
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| John Keats, On the Sonnet |
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| *Billy Collins, Sonnet |
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| Closed Form |
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| Blank Verse |
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| Stanza |
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| The Sonnet |
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| William Shakespeare, When, in Disgrace with Fortune and Men's Eyes |
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| Claude McKay, The White City |
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