| Preface |
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xl | |
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1 | (14) |
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1 | (2) |
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3 | (1) |
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4 | (1) |
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5 | (1) |
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6 | (1) |
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7 | (2) |
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9 | (3) |
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The Function of Literary Criticism |
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12 | (3) |
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Checklist: Evaluating Literary Criticism |
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13 | (2) |
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Reading and Writing About Literature |
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15 | (26) |
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15 | (2) |
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15 | (1) |
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16 | (1) |
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Checklist: Using Highlighting Symbols |
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17 | (1) |
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17 | (2) |
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18 | (1) |
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19 | (22) |
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19 | (7) |
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26 | (1) |
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Revising and Editing an Essay |
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27 | (4) |
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31 | (2) |
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Checklist: Conventions of Writing about Literature |
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33 | (1) |
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Exercise: Two Student Papers |
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34 | (1) |
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Student Paper: Initiation into Adulthood |
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35 | (3) |
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Student Paper: Hard Choices |
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38 | (3) |
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41 | (724) |
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43 | (14) |
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43 | (1) |
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44 | (1) |
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45 | (3) |
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48 | (3) |
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A Primer for the Punctuation of Heart Disease |
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51 | (5) |
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56 | (1) |
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Reading and Writing About Fiction |
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57 | (25) |
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57 | (1) |
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58 | (1) |
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58 | (6) |
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64 | (18) |
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64 | (4) |
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68 | (1) |
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Student Paper: Symbols in ``The Secret Lion'' (First Draft) |
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69 | (3) |
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Revising and Editing an Essay |
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72 | (1) |
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Student Paper: Symbols in ``The Secret Lion'' (Second Draft) |
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73 | (4) |
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Student Paper: ``The Secret Lion'': Everything Changes (Final Draft) |
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77 | (5) |
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82 | (39) |
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83 | (1) |
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83 | (1) |
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84 | (1) |
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85 | (1) |
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Checklist: Writing about Plot |
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85 | (1) |
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86 | (3) |
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89 | (6) |
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95 | (6) |
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101 | (8) |
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How to Talk to Your Mother (Notes) |
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109 | (12) |
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Writing Suggestions: Plot |
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118 | (3) |
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121 | (50) |
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Round and Flat Characters |
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122 | (1) |
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Dynamic and Static Characters |
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123 | (1) |
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123 | (1) |
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Checklist: Writing about Character |
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124 | (1) |
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124 | (6) |
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130 | (5) |
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135 | (13) |
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The Third and Final Continent |
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148 | (15) |
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163 | (8) |
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Writing Suggestions: Character |
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169 | (2) |
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171 | (51) |
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172 | (1) |
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173 | (1) |
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173 | (2) |
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Checklist: Writing about Setting |
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175 | (1) |
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175 | (5) |
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This Is What It Means to Say Phoenix, Arizona |
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180 | (10) |
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190 | (12) |
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202 | (8) |
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210 | (12) |
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Writing Suggestions: Setting |
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220 | (2) |
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222 | (54) |
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223 | (1) |
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224 | (1) |
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225 | (2) |
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225 | (1) |
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Limited Omniscient Narrators |
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226 | (1) |
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227 | (1) |
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Selecting an Appropriate Point of View |
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227 | (5) |
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Limited Omniscient Point of View |
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228 | (1) |
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First-Person Point of View (Child) |
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228 | (1) |
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First-Person Point of View (Adult) |
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229 | (1) |
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229 | (1) |
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230 | (1) |
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Checklist: Selecting An Appropriate Point of View: Review |
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231 | (1) |
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Checklist: Writing about Point of View |
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231 | (1) |
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232 | (11) |
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243 | (6) |
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249 | (15) |
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264 | (6) |
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270 | (6) |
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Writing Suggestions: Point of View |
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274 | (2) |
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Style, Tone, and Language |
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276 | (54) |
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276 | (1) |
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277 | (2) |
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Formal and Informal Diction |
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279 | (1) |
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280 | (1) |
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281 | (1) |
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281 | (1) |
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Checklist: Writing about Style, Tone, and Language |
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282 | (1) |
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282 | (6) |
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288 | (9) |
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A Clean, Well-Lighted Place |
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297 | (5) |
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A Good Man Is Hard to Find |
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302 | (12) |
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314 | (16) |
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Writing Suggestions: Style, Tone, and Language |
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328 | (2) |
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330 | (51) |
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330 | (3) |
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331 | (1) |
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332 | (1) |
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333 | (2) |
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Checklist: Writing about Symbol and Allegory |
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335 | (1) |
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335 | (11) |
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346 | (8) |
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354 | (7) |
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361 | (12) |
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373 | (8) |
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Writing Suggestions: Symbol and Allegory |
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380 | (1) |
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381 | (64) |
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382 | (1) |
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383 | (3) |
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Checklist: Writing about Theme |
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385 | (1) |
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386 | (12) |
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398 | (13) |
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411 | (11) |
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422 | (7) |
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429 | (16) |
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Writing Suggestions: Theme |
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443 | (2) |
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Charlotte Perkins Gilman's ``The Yellow Wallpaper'': A Casebook for Reading, Research, and Writing |
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445 | (47) |
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447 | (15) |
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Why I Wrote ``The Yellow Wallpaper'' |
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462 | (1) |
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Scudder's Comment on ``The Yellow Wallpaper'' |
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463 | (1) |
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from The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination |
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464 | (2) |
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from To Herland and Beyond: The Life and Works of Charlotte Perkins Gilman |
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466 | (4) |
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from The Diaries of Charlotte Perkins Gilman |
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470 | (6) |
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from Gilman's Arabesque Wallpaper |
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476 | (2) |
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Petition to the New Jersey Legislature |
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478 | (1) |
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Antoinette Brown Blackwell |
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Judiciary Committee of the New Jersey Assembly, Response to the Petition by Lucy Stone and Antoinette Brown Blackwell |
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479 | (2) |
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481 | (2) |
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483 | (9) |
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Topics for Further Research |
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485 | (1) |
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Student Paper: Confinement and Escape in Charlotte Perkins Gilman's ``The Yellow Wallpaper'' |
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486 | (6) |
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Joyce Carol Oates's ``Where are you Going, where have you Been?'': A Casebook for Reading, Research, and Writing |
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492 | (49) |
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Where Are You Going, Where Have You Been? |
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494 | (15) |
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When Characters from the Page Are Made Flesh on the Screen |
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509 | (3) |
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from In Fairyland, without a Map: Connie's Exploration Inward in Joyce Carol Oates's ``Where Are You Going, Where Have You Been?'' |
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512 | (3) |
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from Connie's Tambourine Man: A New Reading of Arnold Friend |
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515 | (4) |
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It's All Over Now, Baby Blue |
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519 | (1) |
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from a review of ``Where Are You Going, Where Have You Been: Selected Early Stories'' |
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519 | (3) |
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from Oates's ``Where Are You Going, Where Have You Been?'' |
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522 | (2) |
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from The Pied Piper of Tucson |
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524 | (5) |
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The Pied Piper of Hamelin |
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529 | (2) |
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531 | (10) |
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Topics for Further Research |
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532 | (2) |
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Student Paper: Mesmerizing Men and Vulnerable Teens: Power Relationships in ``Where Are You Going, Where Have You Been?'' and ``Teenage Wasteland'' |
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534 | (7) |
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Fiction for Further Reading |
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541 | (224) |
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541 | (2) |
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543 | (6) |
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549 | (2) |
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551 | (5) |
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556 | (7) |
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The Carnival Dog, the Buyer of Diamonds |
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563 | (9) |
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572 | (17) |
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589 | (10) |
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599 | (5) |
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Chitra Banerjee Divakaruni |
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604 | (10) |
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A Very Old Man with Enormous Wings |
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614 | (4) |
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618 | (11) |
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629 | (12) |
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641 | (3) |
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644 | (8) |
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652 | (3) |
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655 | (1) |
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656 | (9) |
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665 | (25) |
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690 | (10) |
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700 | (5) |
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705 | (9) |
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714 | (13) |
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The Jilting of Granny Weatherall |
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727 | (6) |
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Fifteen Minutes in the Life of Larry Weller |
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733 | (7) |
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740 | (8) |
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748 | (8) |
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756 | (9) |
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765 | (522) |
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767 | (8) |
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767 | (1) |
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768 | (1) |
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769 | (1) |
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770 | (1) |
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That time of year thou mayst in me behold |
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771 | (1) |
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771 | (1) |
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772 | (1) |
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773 | (1) |
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Recognizing Kinds of Poetry |
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773 | (2) |
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773 | (1) |
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774 | (1) |
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Discovering Themes in Poetry |
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775 | (26) |
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A Woman Mourned by Daughters |
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775 | (2) |
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Photograph of my Father in His Twenty-Second Year |
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777 | (1) |
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My Father in the Navy: A Childhood Memory |
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777 | (1) |
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778 | (1) |
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778 | (1) |
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Do not go gentle into that good night |
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779 | (1) |
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My Mama moved among the days |
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780 | (1) |
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780 | (1) |
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780 | (1) |
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781 | (1) |
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782 | (1) |
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The Boy Beheld His Mother's Past |
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782 | (1) |
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783 | (1) |
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The Passionate Shepherd to His Love |
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783 | (1) |
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The Nymph's Reply to the Shepherd |
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784 | (1) |
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There is a garden in her face |
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785 | (1) |
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My mistress' eyes are nothing like the sun |
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785 | (1) |
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786 | (1) |
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786 | (1) |
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786 | (1) |
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Elizabeth Barrett Browning |
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What Lips My Lips Have Kissed |
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787 | (1) |
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Stop all the clocks, cut off the telephone |
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787 | (1) |
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General Review of the Sex Situation |
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788 | (1) |
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788 | (1) |
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A Pink Wool Knitted Dress |
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789 | (1) |
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790 | (1) |
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791 | (1) |
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791 | (1) |
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An Irish Airman Foresees His Death |
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792 | (1) |
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792 | (2) |
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794 | (1) |
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On the Notion of Tenderness in Wartime |
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795 | (1) |
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How Did They Kill My Grandmother? |
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795 | (2) |
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797 | (1) |
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798 | (1) |
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The End and the Beginning |
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799 | (2) |
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Reading and Writing About Poetry |
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801 | (21) |
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801 | (1) |
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802 | (1) |
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802 | (1) |
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803 | (1) |
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804 | (4) |
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804 | (3) |
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807 | (1) |
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Student Paper: A Comparison of Two Poems about Fathers (First Draft) |
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808 | (5) |
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Revising and Editing an Essay |
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812 | (1) |
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Student Paper: A Comparison of Two Poems about Fathers (Second Draft) |
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813 | (4) |
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Student Paper: Digging For Memories (Final Draft) |
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817 | (5) |
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822 | (43) |
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823 | (1) |
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823 | (1) |
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824 | (1) |
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My Grandmother Would Rock Quietly and Hum |
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825 | (2) |
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827 | (1) |
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828 | (2) |
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Where Mountain Lion Lay Down with Deer |
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830 | (1) |
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831 | (2) |
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833 | (2) |
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835 | (1) |
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836 | (1) |
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837 | (1) |
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837 | (1) |
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838 | (1) |
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839 | (3) |
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Try to Praise the Mutilated World |
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842 | (1) |
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The World Is Too Much with Us |
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843 | (1) |
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844 | (1) |
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To the Virgins, to Make Much of Time |
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845 | (1) |
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846 | (1) |
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847 | (1) |
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847 | (2) |
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849 | (1) |
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850 | (2) |
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852 | (1) |
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853 | (4) |
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857 | (1) |
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How to Write the Great American Indian Novel |
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858 | (2) |
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What We Heard about the Japanese |
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860 | (1) |
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What the Japanese Perhaps Heard |
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861 | (4) |
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Checklist: Writing about Voice |
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863 | (1) |
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Writing Suggestions: Voice |
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863 | (2) |
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865 | (32) |
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865 | (1) |
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866 | (2) |
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When I Heard the Learn'd Astronomer |
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868 | (1) |
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For the Grave of Daniel Boone |
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869 | (2) |
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Autumn Begins in Martins Ferry, Ohio |
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871 | (1) |
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872 | (1) |
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873 | (2) |
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875 | (1) |
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875 | (2) |
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877 | (1) |
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877 | (1) |
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878 | (2) |
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880 | (1) |
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881 | (1) |
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882 | (1) |
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883 | (1) |
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884 | (2) |
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886 | (1) |
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886 | (1) |
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887 | (1) |
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888 | (1) |
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889 | (1) |
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One day I wrote her name upon the strand |
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889 | (2) |
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anyone lived in a pretty how town |
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891 | (1) |
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To an Athlete Dying Young |
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892 | (1) |
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My Life had stood---a Loaded Gun--- |
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893 | (4) |
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Checklist: Writing about Word Choice and Word Order |
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894 | (1) |
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Writing Suggestions: Word Choice, Word Order |
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895 | (2) |
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897 | (19) |
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898 | (2) |
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900 | (1) |
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In a Station of the Metro |
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901 | (1) |
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Some Good Things to Be Said for the Iron Age |
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901 | (1) |
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902 | (1) |
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903 | (2) |
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905 | (1) |
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905 | (1) |
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906 | (1) |
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906 | (2) |
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Chitra Banerjee Divakaruni |
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908 | (1) |
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909 | (1) |
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910 | (1) |
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911 | (1) |
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911 | (1) |
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912 | (4) |
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Checklist: Writing about Imagery |
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914 | (1) |
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Writing Suggestions: Imagery |
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914 | (2) |
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916 | (32) |
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Shall I compare thee to a summer's day? |
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917 | (1) |
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Simile, Metaphor, and Personification |
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917 | (1) |
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918 | (1) |
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Constantly Risking Absurdity |
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919 | (1) |
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Rooming houses are old women |
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920 | (1) |
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Oh, my love is like a red, red rose |
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921 | (1) |
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922 | (1) |
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The Death of the Ball Turret Gunner |
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923 | (1) |
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924 | (1) |
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A Valediction: Forbidding Mourning |
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925 | (2) |
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927 | (1) |
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928 | (1) |
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929 | (1) |
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930 | (1) |
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Hyperbole and Understatement |
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931 | (1) |
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932 | (2) |
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934 | (2) |
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To My Dear and Loving Husband |
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936 | (1) |
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936 | (2) |
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938 | (2) |
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940 | (1) |
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941 | (1) |
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941 | (1) |
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942 | (1) |
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To Lucasta Going to the Wars |
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942 | (1) |
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943 | (1) |
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944 | (1) |
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On Passing thru Morgantown, Pa |
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944 | (1) |
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A Supermarket in California |
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944 | (4) |
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Checklist: Writing about Figures of Speech |
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946 | (1) |
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Writing Suggestions: Figures of Speech |
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946 | (2) |
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948 | (28) |
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949 | (1) |
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949 | (1) |
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950 | (1) |
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951 | (3) |
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I like to see it lap the Miles--- |
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954 | (2) |
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956 | (1) |
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For Malcolm, a Year After |
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957 | (1) |
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Alliteration and Assonance |
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958 | (1) |
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959 | (1) |
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960 | (1) |
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961 | (1) |
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961 | (1) |
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962 | (1) |
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963 | (2) |
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Further Reading: Alliteration, Assonance, and Rhyme |
|
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965 | (1) |
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965 | (1) |
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As I Walked Out One Evening |
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966 | (2) |
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968 | (1) |
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969 | (1) |
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970 | (1) |
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971 | (1) |
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972 | (1) |
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972 | (4) |
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Checklist: Writing about Sound |
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|
974 | (1) |
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Writing Suggestions: Sound |
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|
974 | (2) |
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976 | (36) |
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977 | (1) |
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977 | (2) |
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979 | (1) |
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979 | (1) |
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979 | (2) |
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981 | (1) |
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When, in disgrace with Fortune and men's eyes |
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981 | (1) |
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982 | (1) |
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On First Looking into Chapman's Homer |
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983 | (2) |
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985 | (1) |
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Minimalist Sonnet: Summer Virus |
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985 | (1) |
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986 | (1) |
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986 | (2) |
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988 | (1) |
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989 | (1) |
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989 | (2) |
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In Memory of Donald A. Stauffer |
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991 | (1) |
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991 | (1) |
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991 | (1) |
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Her Whole Life Is an Epigram |
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991 | (1) |
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992 | (1) |
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992 | (1) |
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993 | (1) |
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993 | (1) |
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994 | (1) |
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994 | (1) |
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995 | (1) |
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996 | (1) |
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997 | (1) |
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from Out of the Cradle Endlessly Rocking |
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998 | (1) |
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999 | (1) |
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1000 | (1) |
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1001 | (2) |
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1003 | (1) |
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1004 | (1) |
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1005 | (1) |
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1006 | (1) |
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1006 | (1) |
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1007 | (1) |
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Group Photo with Winter Trees |
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1008 | (4) |
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Checklist: Writing about Form |
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|
1009 | (1) |
|
Writing Suggestions: Form |
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|
1009 | (3) |
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Symbol, Allegory, Allusion, Myth |
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1012 | (27) |
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1012 | (1) |
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1013 | (1) |
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For Once, Then, Something |
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1013 | (1) |
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Child's Grave, Hale Country, Alabama |
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1014 | (2) |
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1016 | (1) |
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1017 | (1) |
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1018 | (1) |
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1018 | (1) |
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1019 | (1) |
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1019 | (3) |
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1022 | (1) |
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1022 | (2) |
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1024 | (1) |
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1025 | (1) |
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1026 | (1) |
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1027 | (1) |
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1028 | (1) |
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1029 | (1) |
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1030 | (2) |
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1032 | (1) |
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1033 | (2) |
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1035 | (4) |
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|
Checklist: Writing about Symbol, Allegory, Allusion, Myth |
|
|
1036 | (1) |
|
Writing Suggestions: Symbol, Allegory, Allusion, Myth |
|
|
1037 | (2) |
|
The Poetry of Emily Dickinson: A Casebook for Reading, Research, and Writing |
|
|
1039 | (59) |
|
Success is counted sweetest |
|
|
1043 | (2) |
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|
``Faith'' is a fine invention |
|
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1045 | (1) |
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I taste a liquor never brewed--- |
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1045 | (1) |
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Safe in their Alabaster Chambers--- |
|
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1045 | (1) |
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``Heaven''---is what I cannot reach! |
|
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1046 | (1) |
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Wild Nights---Wild Nights! |
|
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1046 | (1) |
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The Soul selects her own Society--- |
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1046 | (1) |
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Nature---sometimes sears a Sapling |
|
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1047 | (1) |
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|
Some keep the Sabbath going to Church--- |
|
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1047 | (1) |
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|
After great pain, a formal feeling comes--- |
|
|
1047 | (1) |
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|
I read my sentence---steadily--- |
|
|
1048 | (1) |
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We grow accustomed to the Dark--- |
|
|
1048 | (1) |
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|
Much Madness is divinest Sense--- |
|
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1049 | (1) |
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|
This is my letter to the World |
|
|
1049 | (1) |
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|
I heard a Fly buzz---when I died--- |
|
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1049 | (1) |
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|
The Brain---is wider than the Sky--- |
|
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1050 | (1) |
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I dwell in Possibility--- |
|
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1050 | (1) |
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|
One need not be a Chamber---to be Haunted--- |
|
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1051 | (1) |
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|
Because I could not stop for Death--- |
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1051 | (1) |
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1052 | (1) |
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1052 | (1) |
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1052 | (1) |
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Tell all the Truth but tell it slant--- |
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1053 | (1) |
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There is no Frigate like a Book |
|
|
1053 | (1) |
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|
That Love is all there is |
|
|
1053 | (2) |
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|
|
from The Letters of Emily Dickinson |
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|
1055 | (4) |
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|
from Emily Dickinson and the Life of Language: A Study in Symbolic Poetics |
|
|
1059 | (4) |
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|
from The Passion of Emily Dickinson |
|
|
1063 | (4) |
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from The Life of Emily Dickinson |
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1067 | (4) |
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from Positive as Sound: Emily Dickinson's Rhyme |
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1071 | (2) |
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1073 | (3) |
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Did a Bipolar Trait Bring a Turn for the Verse? |
|
|
1076 | (2) |
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|
from Vocation according to Dickinson |
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|
1078 | (3) |
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|
|
from Comic Power in Emily Dickinson |
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|
1081 | (5) |
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|
|
Dickinson's ``Wild Nights!'' |
|
|
1086 | (12) |
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|
Topics for Further Research |
|
|
1088 | (2) |
|
Student Paper: The Musicality of Emily Dickinson's Poetry |
|
|
1090 | (8) |
|
The Poetry of Langston Hughes: A Casebook for Reading, Research, and Writing |
|
|
1098 | (51) |
|
The Negro Speaks of Rivers |
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1104 | (1) |
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1104 | (1) |
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1105 | (1) |
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1105 | (1) |
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1106 | (1) |
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1107 | (1) |
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Birmingham Sunday (September 15, 1963) |
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1108 | (1) |
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1109 | (1) |
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1109 | (1) |
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1110 | (1) |
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1110 | (1) |
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Un-American Investigators |
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1110 | (1) |
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1111 | (1) |
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1112 | (2) |
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from The Negro Artist and the Racial Mountain |
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1114 | (2) |
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1116 | (1) |
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from My Adventures as a Social Poet |
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1117 | (2) |
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from The Origins of Poetry in Langston Hughes |
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1119 | (7) |
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|
from Dead Rocks and Sleeping Men: Aurality in the Aesthetic of Langston Hughes |
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1126 | (3) |
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|
from ``Midnight Ruffles of Cat-Gut Lace'': The Boogie Poems of Langston Hughes |
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1129 | (4) |
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|
from Do Right to Write Right: Langston Hughes's Aesthetics of Simplicity |
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1133 | (5) |
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|
|
from Langston Hughes and the `Other' Whitman |
|
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1138 | (1) |
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|
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Hughes's ``Genius Child'' |
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1139 | (3) |
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|
|
Topics for Further Research |
|
|
1140 | (2) |
|
Student Paper: Challenging the Father/Challenging the Self: Langston Hughes's `The Negro Speaks of Rivers' |
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1142 | (7) |
|
Poetry for Further Reading |
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1149 | (107) |
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1149 | (1) |
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1150 | (1) |
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1151 | (1) |
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1152 | (1) |
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1153 | (1) |
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1154 | (1) |
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1154 | (1) |
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This Is a Photograph of Me |
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1155 | (1) |
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Whether or Not There Are Apples |
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1156 | (1) |
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1157 | (1) |
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1158 | (1) |
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1159 | (1) |
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1160 | (1) |
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To see a World in a Grain of Sand |
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1160 | (1) |
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1160 | (1) |
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1161 | (1) |
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1162 | (1) |
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The Ballad of Rudolph Reed |
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1162 | (2) |
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The Chicago Defender Sends a Man to Little Rock |
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1164 | (2) |
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1166 | (1) |
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1166 | (1) |
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1167 | (1) |
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1167 | (1) |
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In Memory of Jenny and Evelyn Who Were Playing When the Stoop Collapsed |
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1168 | (1) |
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the mississippi river empties into the gulf |
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1169 | (1) |
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1169 | (2) |
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1171 | (1) |
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1172 | (1) |
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1173 | (1) |
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next to of course god america |
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1173 | (1) |
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The Brides Come to Yuba City |
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1174 | (1) |
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Chitra Banerjee Divakaruni |
|
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1175 | (1) |
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Batter My Heart, Three-Personed God |
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1176 | (1) |
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1177 | (1) |
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1177 | (1) |
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1178 | (1) |
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The Satisfaction Coal Company |
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1179 | (2) |
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Waiting with Two Members of a Motorcycle Gang for My Child to Be Born |
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1181 | (1) |
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1182 | (1) |
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The Love Song of J. Alfred Prufrock |
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1182 | (4) |
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1186 | (1) |
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Indian Boarding School: The Runaways |
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1187 | (1) |
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Acquainted with the Night |
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1187 | (1) |
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1188 | (1) |
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1189 | (1) |
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1190 | (1) |
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1191 | (1) |
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Stopping by Woods on a Snowy Evening |
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1191 | (1) |
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1192 | (1) |
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1193 | (1) |
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1194 | (1) |
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1195 | (1) |
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1196 | (1) |
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1196 | (1) |
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I'm four, in itchy woolen leggings |
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1197 | (1) |
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1197 | (1) |
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1198 | (1) |
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The Convergence of the Twain |
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1198 | (2) |
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Homage to the Empress of the Blues |
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1200 | (1) |
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1200 | (1) |
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1201 | (1) |
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1201 | (1) |
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1202 | (1) |
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The Hongo Store 29 Miles Volcano Hilo, Hawaii |
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1203 | (1) |
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1203 | (1) |
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1204 | (1) |
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On the Death of Friends in Childhood |
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1205 | (1) |
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1206 | (1) |
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La Belle Dame sans Merci: A Ballad |
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1206 | (2) |
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Bright Star! Would I Were Steadfast as Thou Art |
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1208 | (1) |
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1208 | (2) |
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1210 | (1) |
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On the Robbery across the Street |
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1210 | (1) |
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A Boy Goes into the World |
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1211 | (1) |
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1212 | (1) |
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1213 | (1) |
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1214 | (1) |
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1214 | (1) |
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1215 | (1) |
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1215 | (1) |
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For the Anniversary of My Death |
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1216 | (1) |
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|
When I consider how my light is spent |
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1216 | (1) |
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1217 | (1) |
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1218 | (1) |
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|
The One Girl at the Boys' Party |
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1218 | (1) |
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1219 | (1) |
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1220 | (1) |
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1220 | (1) |
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1221 | (1) |
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1222 | (1) |
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1222 | (1) |
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1223 | (1) |
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1224 | (1) |
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Scott Wonders If His Daughter Will Understand Tragedy If He Kills Rock and Roll |
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1224 | (1) |
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1225 | (1) |
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1225 | (1) |
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If You Could Write One Great Poem, What Would You Want It to Be About? |
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1226 | (1) |
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1226 | (1) |
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1227 | (1) |
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The River-Merchant's Wife: A Letter |
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1227 | (1) |
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1228 | (1) |
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1229 | (1) |
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1230 | (1) |
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1230 | (1) |
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1231 | (1) |
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1231 | (1) |
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Let me not to the marriage of true minds |
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1232 | (1) |
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Not marble, nor the gilded monuments |
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1233 | (1) |
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1233 | (2) |
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1235 | (1) |
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1236 | (1) |
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1236 | (1) |
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1237 | (1) |
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1238 | (1) |
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1239 | (1) |
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Finding a Yiddish Paper on the Riverside Line |
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1240 | (1) |
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Traveling through the Dark |
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1240 | (1) |
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1241 | (1) |
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1241 | (1) |
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1242 | (1) |
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1242 | (1) |
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1243 | (2) |
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1245 | (1) |
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1245 | (1) |
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1246 | (1) |
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1246 | (1) |
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1247 | (1) |
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On Being Brought from Africa to America |
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1247 | (1) |
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A Noiseless Patient Spider |
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1247 | (1) |
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1248 | (1) |
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1249 | (1) |
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1250 | (1) |
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Composed upon Westminster Bridge, September 3, 1802 |
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1250 | (1) |
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I wandered lonely as a cloud |
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1250 | (1) |
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My heart leaps up when I behold |
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1251 | (1) |
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She dwelt among the untrodden ways |
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1251 | (1) |
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1252 | (1) |
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Crazy Jane Talks with the Bishop |
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1253 | (1) |
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The Lake Isle of Innisfree |
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1253 | (1) |
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1254 | (1) |
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1255 | (1) |
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Biographical Sketches of Selected Poets |
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1256 | (31) |
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1287 | (854) |
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1289 | (27) |
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1289 | (1) |
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Origins of the Modern Theater |
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1289 | (9) |
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The Ancient Greek Theater |
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1289 | (3) |
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1292 | (3) |
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1295 | (3) |
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1298 | (5) |
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1298 | (3) |
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1301 | (2) |
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1303 | (2) |
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1305 | (5) |
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1310 | (6) |
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Reading and Writing About Drama |
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1316 | (20) |
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1316 | (2) |
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1317 | (1) |
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1318 | (18) |
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1318 | (3) |
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1321 | (1) |
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Student Paper: The Women's Role in Trifles (First Draft) |
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1322 | (2) |
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Revising and Editing an Essay |
|
|
1324 | (1) |
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Student Paper: Confinement and Rebellion in Trifles (Second Draft) |
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1325 | (5) |
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Student Paper: Desperate Measures: Acts of Defiance in Trifles (Final Draft) |
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1330 | (6) |
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1336 | (121) |
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1337 | (1) |
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1338 | (1) |
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1338 | (3) |
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1339 | (1) |
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1340 | (1) |
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Checklist: Writing about Plot |
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1340 | (1) |
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1341 | (13) |
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1354 | (46) |
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1400 | (57) |
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|
Writing Suggestions: Plot |
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1455 | (2) |
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1457 | (181) |
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1458 | (6) |
|
Formal and Informal Language |
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|
1460 | (1) |
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Plain and Elaborate Style |
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1461 | (1) |
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1462 | (1) |
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1463 | (1) |
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1464 | (1) |
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1464 | (2) |
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1466 | (2) |
|
Checklist: Writing about Character |
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|
1467 | (1) |
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1468 | (12) |
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|
1480 | (27) |
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1507 | (55) |
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1562 | (76) |
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|
Writing Suggestions: Character |
|
|
1636 | (2) |
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|
1638 | (128) |
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|
1639 | (1) |
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|
1640 | (2) |
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|
1640 | (1) |
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1641 | (1) |
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|
1641 | (1) |
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|
1642 | (1) |
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|
1642 | (1) |
|
Checklist: Writing about Staging |
|
|
1643 | (1) |
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|
1643 | (14) |
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|
1657 | (42) |
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|
A Midsummer Night's Dream |
|
|
1699 | (67) |
|
|
|
Writing Suggestions: Staging |
|
|
1764 | (2) |
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|
1766 | (138) |
|
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|
1767 | (1) |
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|
1767 | (1) |
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|
1768 | (1) |
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|
1769 | (1) |
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|
1770 | (1) |
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|
1770 | (1) |
|
Checklist: Writing about Theme |
|
|
1770 | (1) |
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|
1771 | (7) |
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|
1778 | (39) |
|
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|
1817 | (31) |
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|
1848 | (56) |
|
|
|
Writing Suggestions: Theme |
|
|
1902 | (2) |
|
Tennessee Williams's The Glass Menagerie: A Casebook for Reading, Research, and Writing |
|
|
1904 | (96) |
|
|
|
1906 | (52) |
|
|
|
Author's Production Notes (Preface to the Published Edition) |
|
|
1958 | (2) |
|
|
|
from ``The Angels of Fructification'': Tennessee Williams, Tony Kushner, and Images of Homosexuality on the American Stage |
|
|
1960 | (4) |
|
|
|
from Through the Soundproof Glass: The Prison of Self-Consciousness in The Glass Menagerie |
|
|
1964 | (2) |
|
|
|
from Dramatzing Dementia: Madness in the Plays of Tennessee Williams |
|
|
1966 | (1) |
|
|
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|
|
1967 | (2) |
|
|
|
from Tennessee Williams: Memoirs |
|
|
1969 | (3) |
|
|
|
from Tennessee Williams: An Intimate Biography |
|
|
1972 | (1) |
|
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|
1973 | (1) |
|
|
|
from Irony and Distance in The Glass Menagerie |
|
|
1974 | (3) |
|
|
|
from Student Companion to Tennessee Williams |
|
|
1977 | (2) |
|
Nancy Marie Patterson Tischler |
|
|
from The Glass Menagerie Revisited: Catastrophe without Violence |
|
|
1979 | (2) |
|
|
|
from Family, Drama, and American Dreams |
|
|
1981 | (3) |
|
|
|
Portrait of a Girl in Glass |
|
|
1984 | (9) |
|
|
|
Topics for Further Research |
|
|
1991 | (2) |
|
Student Paper: Laura's Gentleman Caller |
|
|
1993 | (7) |
|
William Shakespeare's Hamlet: A Casebook for Reading, Research, and Writing |
|
|
2000 | (141) |
|
|
|
2002 | (105) |
|
|
|
from The Sublime or the Ridiculous?: Hamlet's Enigmatic Positioning within the American Cultural Hierarchy |
|
|
2107 | (3) |
|
|
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|
2110 | (4) |
|
|
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|
2114 | (2) |
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|
2116 | (2) |
|
|
|
from Revision by Excision: Rewriting Gertrude |
|
|
2118 | (6) |
|
|
|
from The Camera in Gertrude's Closet |
|
|
2124 | (6) |
|
|
|
|
|
from Ophelia's Mad Speeches |
|
|
2130 | (11) |
|
|
|
Student Paper: Reclaiming Shakespeare's Gertrude: Rejecting Role Revisions on Stage and in Film |
|
|
2132 | (7) |
|
Topics for Further Research |
|
|
2139 | (2) |
|
|
|
2141 | (88) |
|
Three Special Writing Assignments |
|
|
2143 | (22) |
|
Writing a Comparison-Contrast Paper |
|
|
2143 | (8) |
|
Checklist: Writing a Comparison-Contrast Paper |
|
|
2144 | (1) |
|
Sample Student Paper: Comparing Two Fictional Characters |
|
|
2145 | (1) |
|
Student Paper: The Dangerous Consequences of Societal Limbo |
|
|
2146 | (5) |
|
Suggested Topics for Comparison-Contrast Papers |
|
|
2151 | (1) |
|
|
|
2151 | (8) |
|
Checklist: Writing an Explication |
|
|
2152 | (1) |
|
Sample Student Paper: Explicating a Poem |
|
|
2152 | (1) |
|
Student Paper: A Lingering Doubt |
|
|
2153 | (5) |
|
Suggested Topics for Explication Papers |
|
|
2158 | (1) |
|
Writing a Character Analysis |
|
|
2159 | (6) |
|
Checklist: Writing a Character Analysis |
|
|
2159 | (1) |
|
Sample Student Paper: Anlyzing a Character in a Play |
|
|
2159 | (1) |
|
Student Paper: Linda Loman: Breaking the Mold |
|
|
2160 | (4) |
|
Suggested Topics for Character Analysis Papers |
|
|
2164 | (1) |
|
|
|
2165 | (34) |
|
|
|
2165 | (1) |
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|
2165 | (1) |
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2166 | (1) |
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2166 | (1) |
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|
2166 | (2) |
|
|
|
2168 | (1) |
|
|
|
2168 | (1) |
|
Drafting a Thesis Statement |
|
|
2169 | (1) |
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2169 | (1) |
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|
2170 | (1) |
|
|
|
2171 | (28) |
|
Parenthetical References in the Text |
|
|
2171 | (1) |
|
Checklist: Guidelines for Punctuating Parenthetical References |
|
|
2172 | (2) |
|
|
|
2174 | (9) |
|
|
|
2183 | (1) |
|
Sample Literature Papers with MLA Documentation |
|
|
2183 | (1) |
|
Student Paper: And Again She Makes the Journey: Character and Act in Eudora Welty's ``A Worn Path'' |
|
|
2184 | (7) |
|
Student Paper: ``A&P'': A Class Act |
|
|
2191 | (8) |
|
Using Literary Criticism in your Writing |
|
|
2199 | (21) |
|
|
|
2199 | (2) |
|
A Formalist Reading: Kate Chopin's ``The Storm'' |
|
|
2200 | (1) |
|
For Further Reading: Formalism |
|
|
2201 | (1) |
|
Reader-Response Criticism |
|
|
2201 | (3) |
|
Reader-Response Readings: Kate Chopin's ``The Storm'' |
|
|
2202 | (1) |
|
For Further Reading: Reader-Response Criticism |
|
|
2203 | (1) |
|
|
|
2204 | (1) |
|
|
|
2205 | (2) |
|
A Feminist Reading: Tillie Olsen's ``I Stand Here Ironing'' |
|
|
2206 | (1) |
|
For Further Reading: Feminist Criticism |
|
|
2207 | (1) |
|
|
|
2207 | (2) |
|
A Marxist Reading: Tillie Olsen's ``I Stand Here Ironing'' |
|
|
2208 | (1) |
|
For Further Reading: Marxist Criticism |
|
|
2208 | (1) |
|
|
|
2209 | (2) |
|
A New Historicist Reading: Charlotte Perkins Gilman's ``The Yellow Wallpaper'' |
|
|
2210 | (1) |
|
For Further Reading: New Historicist Criticism |
|
|
2211 | (1) |
|
|
|
2211 | (1) |
|
|
|
2212 | (2) |
|
A Psychoanalytic Reading: Edgar Allan Poe's ``The Cask of Amontillado'' |
|
|
2213 | (1) |
|
For Further Reading: Psychoanalytic Criticism |
|
|
2214 | (1) |
|
|
|
2214 | (2) |
|
A Structuralist Reading: William Faulkner's ``Barn Burning'' |
|
|
2215 | (1) |
|
For Further Reading: Structuralism |
|
|
2216 | (1) |
|
|
|
2216 | (4) |
|
A Deconstructionist Reading: Flannery O'Connor's ``A Good Man Is Hard to Find'' |
|
|
2218 | (1) |
|
For Further Reading: Deconstruction |
|
|
2218 | (2) |
|
Writing Essay Exams About Literature |
|
|
2220 | (9) |
|
Planning an Essay Exam Answer |
|
|
2220 | (3) |
|
|
|
2220 | (1) |
|
Consider Your Audience and Purpose |
|
|
2221 | (1) |
|
Read through the Entire Exam |
|
|
2221 | (1) |
|
Read the Question Carefully |
|
|
2221 | (2) |
|
|
|
2223 | (1) |
|
Shaping an Essay Exam Answer |
|
|
2223 | (1) |
|
|
|
2223 | (1) |
|
|
|
2224 | (1) |
|
Drafting and Revising an Essay Exam Answer |
|
|
2224 | (1) |
|
Sample Student Essay Exam Answer |
|
|
2225 | (4) |
|
Appendix: Literary History: From Aristotle to the Present |
|
|
2229 | (1) |
|
Beginnings: The Greeks and Romans (c. 450 B.C.--A.D. 400) |
|
|
2229 | (1) |
|
The Middle Ages (c. A.D. 400--1500) |
|
|
2229 | (1) |
|
The Renaissance (c. 1500--1660) |
|
|
2230 | (1) |
|
The Enlightenment (1660--1798) |
|
|
2230 | (1) |
|
The Romantic Period (1798--1837) |
|
|
2231 | (1) |
|
The Victorian Period (1837--1901) |
|
|
2232 | (1) |
|
The Modern Period (since 1901) |
|
|
2233 | |
| Glossary of Literary Terms |
|
1 | (1) |
| Credits |
|
1 | (1) |
| Index of First Lines of Poetry |
|
1 | (4) |
| Index of Authors and Titles |
|
5 | |
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