| Authors Represented by Multiple Works |
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xxxvii | |
| Preface |
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xliii | |
| PART 1 A GUIDE TO WRITING ABOUT LITERATURE |
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1 | (134) |
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1 UNDERSTANDING LITERATURE |
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3 | (14) |
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3 | (2) |
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5 | (1) |
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6 | (3) |
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Luisa Valenzuela, All about Suicide |
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7 | (1) |
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Wole Soyinka, Telephone Conversation |
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8 | (1) |
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9 | (2) |
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11 | (3) |
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The Function of Literary Criticism |
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14 | (3) |
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Checklist: Evaluating Literary Criticism |
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15 | (2) |
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2 READING AND WRITING ABOUT LITERATURE |
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17 | (26) |
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17 | (4) |
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17 | (1) |
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18 | (1) |
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Checklist: Using Highlighting Symbols |
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19 | (1) |
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Maya Angelou, My Arkansas |
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19 | (2) |
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20 | (1) |
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21 | (22) |
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22 | (6) |
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28 | (1) |
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Revising and Editing an Essay |
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29 | (14) |
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34 | (1) |
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Checklist: Conventions of Writing about Literature |
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35 | (1) |
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Exercise: Two Student Papers |
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36 | (1) |
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Student Paper: Initiation into Adulthood |
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37 | (3) |
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Student Paper: Hard Choices |
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40 | (3) |
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3 WRITING SPECIAL KINDS OF PAPERS |
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43 | (35) |
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Writing a Comparison-Contrast |
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43 | (8) |
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Checklist: Writing a Comparison-Contrast |
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44 | (1) |
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Comparing Two Fictional Characters |
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45 | (5) |
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Student Paper: The Dangerous Consequences of Societal Limbo |
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45 | (5) |
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Suggested Topics for Comparison-Contrast Papers |
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50 | (1) |
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51 | (7) |
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Checklist: Writing an Explication |
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51 | (1) |
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51 | (6) |
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Student Paper: A Lingering Doubt |
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52 | (5) |
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Suggested Topics for Explication Papers |
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57 | (1) |
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Writing a Character Analysis |
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58 | (5) |
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Checklist: Writing a Character Analysis |
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58 | (1) |
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Analyzing a Character in a Play |
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59 | (4) |
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Student Paper: Linda Loman: Breaking the Mold |
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59 | (4) |
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Suggested Topics for Character Analysis Papers |
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63 | (1) |
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Writing about a Work's Historical Context |
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63 | (8) |
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Checklist: Writing about a Work's Historical Context |
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64 | (1) |
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Setting a Literary Work in Its Historical Context |
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64 | (6) |
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Student Paper: Dreaming of Home |
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65 | (5) |
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Suggested Topics for Historical Context Papers |
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70 | (1) |
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4 THINKING CRITICALLY ABOUT YOUR WRITING |
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71 | (3) |
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Distinguishing Fact from Opinion |
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71 | (2) |
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Evaluating Supporting Evidence |
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73 | (1) |
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Detecting Bias in Your Writing |
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73 | (1) |
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74 | (4) |
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74 | (1) |
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75 | (1) |
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76 | (1) |
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Recognizing Logical Fallacies |
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76 | (2) |
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5 WRITING LITERARY ARGUMENTS |
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78 | (16) |
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Planning a Literary Argument |
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78 | (3) |
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Choosing a Debatable Topic |
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78 | (1) |
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Developing an Argumentative Thesis |
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79 | (1) |
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Checklist: Developing an Argumentative Thesis |
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79 | (1) |
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80 | (1) |
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Considering Your Audience |
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80 | (1) |
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Refuting Opposing Arguments |
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81 | (1) |
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Using Evidence Effectively |
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81 | (3) |
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Supporting Your Literary Argument |
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81 | (1) |
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82 | (1) |
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83 | (1) |
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Using Visuals as Evidence |
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84 | (1) |
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Organizing a Literary Argument |
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84 | (10) |
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Writing a Literary Argument |
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85 | (10) |
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Student Paper: The Politics of "Everyday Use" |
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86 | (8) |
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6 WRITING A RESEARCH PAPER |
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94 | (15) |
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94 | (1) |
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Doing Exploratory Research |
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94 | (1) |
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95 | (1) |
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95 | (3) |
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95 | (1) |
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96 | (2) |
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98 | (1) |
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99 | (1) |
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Drafting a Thesis Statement |
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100 | (1) |
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100 | (1) |
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101 | (1) |
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Sample Research Paper with MLA Documentation |
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102 | (7) |
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Student Paper: And Again She Makes the Journey: Character and Act in Eudora Welty's "A Worn Path" |
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102 | (7) |
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7 DOCUMENTING SOURCES AND AVOIDING PLAGIARISM |
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109 | (17) |
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109 | (3) |
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Document All Material That Requires Documentation |
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110 | (1) |
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Enclose Borrowed Words in Quotation Marks |
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110 | (1) |
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Do Not Imitate a Source's Syntax and Phrasing |
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111 | (1) |
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Differentiate Your Words from Those of Your Source |
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111 | (1) |
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Checklist: Plagiarism and Internet Sources |
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112 | (1) |
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112 | (14) |
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Parenthetical References in the Text |
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112 | (4) |
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Checklist: Guidelines for Punctuating Parenthetical References |
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113 | (3) |
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116 | (9) |
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125 | (1) |
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8 WRITING ESSAY EXAMS ABOUT LITERATURE |
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126 | (9) |
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Planning an Essay Exam Answer |
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126 | (3) |
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126 | (1) |
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Consider Your Audience and Purpose |
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127 | (1) |
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Read through the Entire Exam |
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127 | (1) |
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Read Each Question Carefully |
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127 | (2) |
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129 | (1) |
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Shaping an Essay Exam Answer |
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129 | (1) |
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129 | (1) |
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130 | (1) |
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Drafting and Revising an Essay Exam Answer |
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130 | (7) |
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Sample Student Essay Exam Answer |
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131 | (4) |
| PART 2 FICTION |
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135 | (520) |
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137 | (12) |
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Origins of Modern Fiction |
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137 | (5) |
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138 | (4) |
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The History of the Short Story |
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142 | (1) |
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142 | (1) |
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Ernest Hemingway, Hills Like White Elephants |
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143 | (4) |
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Recognizing Kinds of Fiction |
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147 | (2) |
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10 FICTION SAMPLER: THE SHORT-SHORT |
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149 | (1) |
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Gary Gildner, Sleepy Time Gal |
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150 | (2) |
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Jonathan Safran Foer, A Primer for the Punctuation of Heart Disease |
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152 | (5) |
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Margaret Atwood, Happy Endings |
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157 | (3) |
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160 | (1) |
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Amanda Holzer, Love and Other Catastrophes: A Mix Tape |
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161 | (1) |
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Monica Ware, Mislaid Plans |
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162 | (2) |
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11 READING AND WRITING ABOUT FICTION |
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164 | (1) |
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164 | (1) |
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165 | (1) |
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Alberto Alvaro Rios, The Secret Lion |
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165 | (6) |
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171 | (18) |
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171 | (4) |
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175 | (4) |
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Student Paper: Symbols in "The Secret Lion" (First Draft) |
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176 | (3) |
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Revising and Editing an Essay |
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179 | (26) |
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Student Paper: Symbols in "The Secret Lion" (Second Draft) |
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180 | (4) |
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Student Paper: "The Secret Lion": Everything Changes (Final Draft) |
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184 | (5) |
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189 | (3) |
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189 | (1) |
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190 | (1) |
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191 | (1) |
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Checklist: Writing about Plot |
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192 | (1) |
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Kate Chopin, The Story of an Hour |
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192 | (3) |
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Naguib Mahfouz, Half a Day |
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195 | (4) |
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199 | (6) |
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William Faulkner, A Rose for Emily |
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205 | (11) |
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WRITING SUGGESTIONS: Plot |
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213 | (3) |
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216 | (22) |
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Round and Flat Characters |
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216 | (1) |
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Dynamic and Static Characters |
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217 | (1) |
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218 | (1) |
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Checklist: Writing about Character |
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218 | (1) |
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219 | (6) |
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Katherine Mansfield, Miss Brill |
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225 | (5) |
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Gish Jen, The Water Faucet Vision |
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230 | (8) |
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238 | (14) |
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WRITING SUGGESTIONS: Character |
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250 | (1) |
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251 | (31) |
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252 | (1) |
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252 | (1) |
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253 | (2) |
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Checklist: Writing about Setting |
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254 | (1) |
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255 | (5) |
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Sherman J. Alexie, This Is What It Means to Say Phoenix, Arizona |
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260 | (10) |
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Ralph Ellison, Battle Royal |
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270 | (12) |
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Tillie Olsen, I Stand Here Ironing |
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282 | (9) |
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WRITING SUGGESTIONS: Setting |
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290 | (1) |
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291 | (1) |
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291 | (3) |
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292 | (2) |
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294 | (2) |
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294 | (1) |
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Limited Omniscient Narrators |
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295 | (1) |
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295 | (1) |
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Selecting an Appropriate Point of View |
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296 | (4) |
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Checklist: Selecting an Appropriate Point of View: Review |
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299 | (1) |
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Checklist: Writing about Point of View |
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300 | (1) |
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Richard Wright, Big Black Good Man |
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300 | (11) |
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Edgar Allan Poe, The Cask of Amontillado |
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311 | (7) |
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William Faulkner, Barn Burning |
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318 | (14) |
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Chitra Banerjee Divakaruni, The Disappearance |
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332 | (9) |
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WRITING SUGGESTIONS: Point of View |
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340 | (1) |
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16 STYLE, TONE, AND LANGUAGE |
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341 | (38) |
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341 | (1) |
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341 | (2) |
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Formal and Informal Diction |
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343 | (2) |
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345 | (1) |
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345 | (2) |
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Checklist: Writing about Style, Tone, and Language |
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346 | (1) |
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347 | (6) |
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Flannery O'Connor, A Good Man Is Hard to Find |
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353 | (13) |
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Charlotte Perkins Gilman, The Yellow Wallpaper |
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366 | (13) |
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Tim O'Brien, The Things They Carried |
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379 | (15) |
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WRITING SUGGESTIONS: Style, Tone, and Language |
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393 | (1) |
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17 SYMBOL, ALLEGORY, AND MYTH |
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394 | (1) |
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394 | (2) |
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395 | (1) |
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395 | (1) |
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396 | (2) |
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398 | (2) |
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Checklist: Writing about Symbol, Allegory, and Myth |
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399 | (1) |
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Jorge Luis Borges, The Book of Sand |
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400 | (4) |
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Shirley Jackson, The Lottery |
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404 | (8) |
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Alice Walker, Everyday Use |
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412 | (8) |
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Raymond Carver, Cathedral |
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420 | (12) |
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Nathaniel Hawthorne, Young Goodman Brown |
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432 | (13) |
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WRITING SUGGESTIONS: Symbol, Allegory, and Myth |
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443 | (1) |
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444 | (37) |
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445 | (1) |
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446 | (2) |
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Checklist: Writing about Theme |
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448 | (1) |
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Eudora Welty, A Worn Path |
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448 | (8) |
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David Michael Kaplan, Doe Season |
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456 | (12) |
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D.H. Lawrence, The Rocking-Horse Winner |
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468 | (13) |
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Hisaye Yamamoto, Seventeen Syllables |
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481 | (15) |
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WRITING SUGGESTIONS: Theme |
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492 | (2) |
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494 | (50) |
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Fiction in Film: John Updike's "A&P" |
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496 | (2) |
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Fiction in Film: Tillie Olsen's "I Stand Here Ironing" |
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498 | (2) |
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Fiction in Film: Alice Walker's "Everyday Use" |
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500 | (2) |
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Fiction in Film: Raymond Carver's "Cathedral" |
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502 | (2) |
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Fiction in Film: Eudora Welty's "A Worn Path" |
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504 | (2) |
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20 JOYCE CAROL OATES'S "WHERE ARE YOU GOING, WHERE HAVE YOU BEEN?": A CASEBOOK FOR READING, RESEARCH, AND WRITING |
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506 | (3) |
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Joyce Carol Oates, Where Are You Going, Where Have You Been? |
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509 | (13) |
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Joyce Carol Oates, When Characters from the Page Are Made Flesh on the Screen |
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522 | (4) |
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Gretchen Schulz and R.J.R. Rockwood, 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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526 | (4) |
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Mike Tierce and John Michael Crafton, from Connie's Tambourine Man: A New Reading of Arnold Friend |
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530 | (3) |
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Bob Dylan, It's All Over Now, Baby Blue |
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533 | (1) |
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Laura Kalpakian, from a review of Where Are You Going, Where Have You Been?: Selected Early Stories |
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534 | (3) |
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Don Moser, from The Pied Piper of Tucson |
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537 | (5) |
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Anonymous, The Pied Piper of Hamelin |
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542 | (2) |
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Charles Perrault, Little Red Riding Hood |
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544 | (10) |
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Topics for Further Research |
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545 | (122) |
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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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547 | (7) |
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21 FICTION FOR FURTHER READING |
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554 | (128) |
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James Baldwin, Sonny's Blues |
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554 | (22) |
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Toni Cade Bambara, The Lesson |
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576 | (6) |
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T. Coraghessan Boyle, Greasy Lake |
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582 | (7) |
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Louise Erdrich, The Red Convertible |
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589 | (7) |
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Gabriel Garcia Márquez, A Very Old Man with Enormous Wings |
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596 | (5) |
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601 | (4) |
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Franz Kafka, A Hunger Artist |
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605 | (6) |
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Flannery O'Connor, Everything That Rises Must Converge |
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611 | (11) |
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Edgar Allan Poe, The Tell-Tale Heart |
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622 | (3) |
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Katherine Anne Porter, The Jilting of Granny Weatherall |
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625 | (7) |
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John Steinbeck, The Chrysanthemums |
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632 | (8) |
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640 | (8) |
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Anne Tyler, Teenage Wasteland |
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648 | (7) |
| PART 3 POETRY |
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655 | (1) |
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657 | (366) |
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657 | (1) |
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658 | (1) |
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659 | (5) |
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664 | (1) |
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William Shakespeare, That time of year thou mayst in me behold |
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665 | (1) |
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Louis Zukofsky, I walk in the old street |
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665 | (1) |
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666 | (1) |
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Recognizing Kinds of Poetry |
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667 | (4) |
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667 | (1) |
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667 | (2) |
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23 POETRY SAMPLER: VISUAL POETRY |
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669 | (7) |
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George Herbert, Easter Wings |
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671 | (1) |
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672 | (1) |
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Greg Williamson, Group Photo with Winter Trees |
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672 | (1) |
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Charles Bernstein, this poem intentionally left blank |
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673 | (1) |
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Ian Hamilton Finlay, Acrobats |
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673 | (1) |
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Reed Altemus and Jim Leftwich, Flake upper phase |
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674 | (1) |
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Bob Grumman, Mathemaku No. 10 |
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675 | (1) |
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24 READING AND WRITING ABOUT POETRY |
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676 | (1) |
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676 | (1) |
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677 | (1) |
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Robert Hayden, Those Winter Sundays |
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677 | (1) |
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678 | (1) |
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679 | (18) |
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679 | (3) |
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682 | (5) |
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Student Paper: A Comparison of Two Poems about Fathers (First Draft) |
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683 | (4) |
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Revising and Editing an Essay |
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687 | (15) |
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Student Paper: A Comparison of Two Poems about Fathers (Second Draft) |
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688 | (4) |
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Student Paper: Digging for Memories (Final Draft) |
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692 | (5) |
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697 | (27) |
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Emily Dickinson, I'm nobody! Who are you? |
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697 | (1) |
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697 | (1) |
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Louise Glück, Gretel in Darkness |
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698 | (2) |
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Leonard Adamé, My Grandmother Would Rock Quietly and Hum |
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700 | (1) |
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701 | (1) |
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Robert Browning, My Last Duchess |
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702 | (3) |
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FURTHER READING: The Speaker in the Poem |
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705 | (1) |
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Leslie Marmon Silko, Where Mountain Lion Lay Down with Deer |
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705 | (3) |
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Janice Mirikitani, Suicide Note 706 Pat Mora, Veiled |
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708 | (1) |
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709 | (1) |
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Robert Frost, Fire and Ice |
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709 | (1) |
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Thomas Hardy, The Man He Killed |
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710 | (1) |
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711 | (3) |
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FURTHER READING: The Tone of the Poem |
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714 | (1) |
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Adam Zagajewski, Try to Praise the Mutilated World |
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714 | (1) |
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William Wordsworth, The World Is Too Much with Us |
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715 | (1) |
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Claude McKay, The White City |
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716 | (1) |
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Robert Herrick, To the Virgins, to Make Much of Time |
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717 | (1) |
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Deborah Garrison, Please Fire Me |
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718 | (1) |
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719 | (1) |
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Robert Browning, Porphyria's Lover |
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719 | (2) |
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Percy Bysshe Shelley, Ozymandias |
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721 | (1) |
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722 | (2) |
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724 | (1) |
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W.H. Auden, The Unknown Citizen |
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724 | (1) |
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Dudley Randall, Ballad of Birmingham |
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725 | (4) |
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Checklist: Writing about Voice |
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726 | (1) |
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WRITING SUGGESTIONS: Voice |
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727 | (2) |
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26 WORD CHOICE, WORD ORDER |
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729 | (3) |
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Sipho Sepamla, Words, Words, Words |
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729 | (1) |
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730 | (1) |
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Walt Whitman, When I Heard the Learn'd Astronomer |
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731 | (1) |
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William Stafford, For the Grave of Daniel Boone |
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732 | (2) |
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FURTHER READING: Word Choice |
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734 | (1) |
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James Wright, Autumn Begins in Martins Ferry, Ohio |
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734 | (1) |
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Adrienne Rich, Living in Sin |
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735 | (2) |
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737 | (1) |
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738 | (1) |
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739 | (1) |
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Margaret Atwood, The City Planners |
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739 | (2) |
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741 | (2) |
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FURTHER READING: Levels of Diction |
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743 | (1) |
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Wanda Coleman, Sears Life |
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743 | (1) |
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Mark Halliday, The Value of Education |
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744 | (1) |
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Charles Bukowski, Dog Fight |
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745 | (1) |
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Gwendolyn Brooks, We Real Cool |
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746 | (1) |
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747 | (1) |
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Edmund Spenser, One day I wrote her name upon the strand |
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748 | (1) |
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E.E. Cummings, anyone lived in a pretty how town |
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749 | (1) |
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FURTHER READING: Word Order |
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750 | (1) |
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A.E. Housman, To an Athlete Dying Young |
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750 | (1) |
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Checklist: Writing about Word Choice and Word Order |
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751 | (2) |
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WRITING SUGGESTIONS: Word Choice, Word Order |
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752 | (1) |
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753 | (5) |
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Jane Flanders, Cloud Painter |
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753 | (2) |
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William Carlos Williams, Red Wheelbarrow |
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755 | (1) |
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Ezra Pound, In a Station of the Metro |
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756 | (1) |
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Gary Snyder, Some Good Things to Be Said for the Iron Age |
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756 | (1) |
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Suzanne E. Berger, The Meal |
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757 | (1) |
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William Carlos Williams, The Great Figure |
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758 | (2) |
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760 | (1) |
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Michael Chitwood, Division |
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760 | (1) |
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Robert Frost, Nothing Gold Can Stay |
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760 | (1) |
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761 | (1) |
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William Shakespeare, My mistress' eyes are nothing like the sun |
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762 | (1) |
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763 | (1) |
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763 | (3) |
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Checklist: Writing about Imagery |
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764 | (1) |
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WRITING SUGGESTIONS: Imagery |
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765 | (1) |
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766 | (3) |
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William Shakespeare, Shall I compare thee to a summer's day? |
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766 | (1) |
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Simile, Metaphor, and Personification |
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767 | (1) |
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767 | (1) |
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Lawrence Ferlinghetti, Constantly Risking Absurdity |
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768 | (1) |
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Audre Lorde, Rooming houses are old women |
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769 | (2) |
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FURTHER READING: Simile, Metaphor, and Personification |
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771 | (1) |
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Robert Burns, Oh, my love is like a red, red rose |
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771 | (1) |
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771 | (1) |
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772 | (1) |
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John Updike, Ex-Basketball Player |
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773 | (1) |
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Randall Jarrell, The Death of the Ball Turret Gunner |
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774 | (1) |
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Marge Piercy, The Secretary Chant |
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775 | (1) |
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John Donne, A Valediction: Forbidding Mourning |
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776 | (2) |
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Hyperbole and Understatement |
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778 | (1) |
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778 | (3) |
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David Huddle, Holes Commence Falling |
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781 | (1) |
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FURTHER READING: Hyperbole and Understatement |
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782 | (1) |
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Anne Bradstreet, To My Dear and Loving Husband |
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782 | (1) |
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Andrew Marvell, To His Coy Mistress |
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783 | (2) |
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Robert Frost, "Out, Out—" |
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785 | (1) |
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Donald Hall, My Son, My Executioner |
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786 | (1) |
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Margaret Atwood, you fit into me |
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787 | (1) |
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787 | (1) |
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Richard Lovelace, To Lucasta Going to the Wars |
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788 | (1) |
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FURTHER READING: Metonymy and Synecdoche |
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788 | (1) |
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Thomas Lux, Henry Clay's Mouth |
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788 | (1) |
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789 | (1) |
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Sonia Sanchez, On Passing thru Morgantown, Pa. |
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790 | (1) |
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FURTHER READING: Apostrophe |
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791 | (1) |
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Allen Ginsberg, A Supermarket in California |
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791 | (3) |
|
Checklist: Writing about Figures of Speech |
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792 | (1) |
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WRITING SUGGESTIONS: Figures of Speech |
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793 | (1) |
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794 | (5) |
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Walt Whitman, Had I the Choice |
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794 | (1) |
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794 | (1) |
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Gwendolyn Brooks, Sadie and Maud |
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795 | (1) |
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796 | (3) |
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Emily Dickinson, I like to see it lap the Miles |
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|
799 | (3) |
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FURTHER READING: Rhythm and Meter |
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802 | (1) |
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Adrienne Rich, Aunt Jennifer's Tigers |
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802 | (1) |
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Etheridge Knight, For Malcolm, a Year After |
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803 | (1) |
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Frank O'Hara, To the Poem |
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804 | (1) |
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Alliteration and Assonance |
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805 | (1) |
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Alfred, Lord Tennyson, The Eagle |
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806 | (1) |
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N. Scott Momaday, Comparatives |
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806 | (1) |
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Robert Herrick, Delight in Disorder |
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807 | (1) |
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808 | (1) |
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809 | (1) |
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809 | (2) |
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FURTHER READING: Alliteration, Assonance, and Rhyme |
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811 | (1) |
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Gerard Manley Hopkins, Pied Beauty |
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811 | (1) |
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W.H. Auden, As I Walked Out One Evening |
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812 | (2) |
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Galway Kinnell, Blackberry Eating |
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814 | (1) |
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815 | (1) |
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Lewis Carroll, Jabberwocky |
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|
816 | (3) |
|
Checklist: Writing about Sound |
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|
817 | (1) |
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WRITING SUGGESTIONS: Sound |
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818 | (1) |
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819 | (2) |
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John Keats, On the Sonnet |
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819 | (1) |
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819 | (2) |
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821 | (3) |
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821 | (1) |
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822 | (1) |
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823 | (1) |
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William Shakespeare, When, in disgrace with Fortune and men's eyes |
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824 | (1) |
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FURTHER READING: The Sonnet |
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824 | (1) |
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John Keats, On First Looking into Chapman's Homer |
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824 | (2) |
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Gwendolyn Brooks, First Fight. Then Fiddle |
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826 | (1) |
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826 | (1) |
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Alberto Alvaro Rios, Nani |
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827 | (1) |
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FURTHER READING: The Sestina |
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828 | (1) |
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Elizabeth Bishop, Sestina |
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828 | (1) |
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829 | (1) |
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Theodore Roethke, The Waking |
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|
829 | (2) |
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|
830 | (1) |
|
FURTHER READING: The Epigram |
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|
831 | (1) |
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Samuel Taylor Coleridge, What Is an Epigram? |
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831 | (1) |
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William Blake, Her Whole Life Is an Epigram |
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|
831 | (1) |
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Martin Espada, Why I Went to College |
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831 | (1) |
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832 | (1) |
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832 | (1) |
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832 | (1) |
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Carolyn Kizer, After Basho |
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833 | (1) |
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833 | (1) |
|
Jack Kerouac, American Haiku |
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|
834 | (1) |
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|
|
835 | (1) |
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|
|
836 | (1) |
|
E.E. Cummings, the sky was candy |
|
|
837 | (1) |
|
FURTHER READING: Open Form |
|
|
838 | (1) |
|
Walt Whitman, from "Out of the Cradle Endlessly Rocking" |
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|
838 | (1) |
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|
|
839 | (1) |
|
Robert Hayden, Monet's "Waterlilies" |
|
|
840 | (2) |
|
William Carlos Williams, Spring and All |
|
|
842 | (1) |
|
Carolyn Forché The Colonel |
|
|
843 | (4) |
|
Checklist: Writing about Form |
|
|
844 | (1) |
|
WRITING SUGGESTIONS: Form |
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