| 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) |
|
James Wright, Autumn Begins in Martins Ferry, Ohio |
|
|
734 | (1) |
|
Adrienne Rich, Living in Sin |
|
|
735 | (2) |
|
|
|
737 | (1) |
|
|
|
738 | (1) |
|
|
|
739 | (1) |
|
Margaret Atwood, The City Planners |
|
|
739 | (2) |
|
|
|
741 | (2) |
|
FURTHER READING: Levels of Diction |
|
|
743 | (1) |
|
Wanda Coleman, Sears Life |
|
|
743 | (1) |
|
Mark Halliday, The Value of Education |
|
|
744 | (1) |
|
Charles Bukowski, Dog Fight |
|
|
745 | (1) |
|
Gwendolyn Brooks, We Real Cool |
|
|
746 | (1) |
|
|
|
747 | (1) |
|
Edmund Spenser, One day I wrote her name upon the strand |
|
|
748 | (1) |
|
E.E. Cummings, anyone lived in a pretty how town |
|
|
749 | (1) |
|
FURTHER READING: Word Order |
|
|
750 | (1) |
|
A.E. Housman, To an Athlete Dying Young |
|
|
750 | (1) |
|
Checklist: Writing about Word Choice and Word Order |
|
|
751 | (2) |
|
WRITING SUGGESTIONS: Word Choice, Word Order |
|
|
752 | (1) |
|
|
|
753 | (5) |
|
Jane Flanders, Cloud Painter |
|
|
753 | (2) |
|
William Carlos Williams, Red Wheelbarrow |
|
|
755 | (1) |
|
Ezra Pound, In a Station of the Metro |
|
|
756 | (1) |
|
Gary Snyder, Some Good Things to Be Said for the Iron Age |
|
|
756 | (1) |
|
Suzanne E. Berger, The Meal |
|
|
757 | (1) |
|
William Carlos Williams, The Great Figure |
|
|
758 | (2) |
|
|
|
760 | (1) |
|
Michael Chitwood, Division |
|
|
760 | (1) |
|
Robert Frost, Nothing Gold Can Stay |
|
|
760 | (1) |
|
|
|
761 | (1) |
|
William Shakespeare, My mistress' eyes are nothing like the sun |
|
|
762 | (1) |
|
|
|
763 | (1) |
|
|
|
763 | (3) |
|
Checklist: Writing about Imagery |
|
|
764 | (1) |
|
WRITING SUGGESTIONS: Imagery |
|
|
765 | (1) |
|
|
|
766 | (3) |
|
William Shakespeare, Shall I compare thee to a summer's day? |
|
|
766 | (1) |
|
Simile, Metaphor, and Personification |
|
|
767 | (1) |
|
|
|
767 | (1) |
|
Lawrence Ferlinghetti, Constantly Risking Absurdity |
|
|
768 | (1) |
|
Audre Lorde, Rooming houses are old women |
|
|
769 | (2) |
|
FURTHER READING: Simile, Metaphor, and Personification |
|
|
771 | (1) |
|
Robert Burns, Oh, my love is like a red, red rose |
|
|
771 | (1) |
|
|
|
771 | (1) |
|
|
|
772 | (1) |
|
John Updike, Ex-Basketball Player |
|
|
773 | (1) |
|
Randall Jarrell, The Death of the Ball Turret Gunner |
|
|
774 | (1) |
|
Marge Piercy, The Secretary Chant |
|
|
775 | (1) |
|
John Donne, A Valediction: Forbidding Mourning |
|
|
776 | (2) |
|
Hyperbole and Understatement |
|
|
778 | (1) |
|
|
|
778 | (3) |
|
David Huddle, Holes Commence Falling |
|
|
781 | (1) |
|
FURTHER READING: Hyperbole and Understatement |
|
|
782 | (1) |
|
Anne Bradstreet, To My Dear and Loving Husband |
|
|
782 | (1) |
|
Andrew Marvell, To His Coy Mistress |
|
|
783 | (2) |
|
Robert Frost, "Out, Out—" |
|
|
785 | (1) |
|
Donald Hall, My Son, My Executioner |
|
|
786 | (1) |
|
Margaret Atwood, you fit into me |
|
|
787 | (1) |
|
|
|
787 | (1) |
|
Richard Lovelace, To Lucasta Going to the Wars |
|
|
788 | (1) |
|
FURTHER READING: Metonymy and Synecdoche |
|
|
788 | (1) |
|
Thomas Lux, Henry Clay's Mouth |
|
|
788 | (1) |
|
|
|
789 | (1) |
|
Sonia Sanchez, On Passing thru Morgantown, Pa. |
|
|
790 | (1) |
|
FURTHER READING: Apostrophe |
|
|
791 | (1) |
|
Allen Ginsberg, A Supermarket in California |
|
|
791 | (3) |
|
Checklist: Writing about Figures of Speech |
|
|
792 | (1) |
|
WRITING SUGGESTIONS: Figures of Speech |
|
|
793 | (1) |
|
|
|
794 | (5) |
|
Walt Whitman, Had I the Choice |
|
|
794 | (1) |
|
|
|
794 | (1) |
|
Gwendolyn Brooks, Sadie and Maud |
|
|
795 | (1) |
|
|
|
796 | (3) |
|
Emily Dickinson, I like to see it lap the Miles |
|
|
799 | (3) |
|
FURTHER READING: Rhythm and Meter |
|
|
802 | (1) |
|
Adrienne Rich, Aunt Jennifer's Tigers |
|
|
802 | (1) |
|
Etheridge Knight, For Malcolm, a Year After |
|
|
803 | (1) |
|
Frank O'Hara, To the Poem |
|
|
804 | (1) |
|
Alliteration and Assonance |
|
|
805 | (1) |
|
Alfred, Lord Tennyson, The Eagle |
|
|
806 | (1) |
|
N. Scott Momaday, Comparatives |
|
|
806 | (1) |
|
Robert Herrick, Delight in Disorder |
|
|
807 | (1) |
|
|
|
808 | (1) |
|
|
|
809 | (1) |
|
|
|
809 | (2) |
|
FURTHER READING: Alliteration, Assonance, and Rhyme |
|
|
811 | (1) |
|
Gerard Manley Hopkins, Pied Beauty |
|
|
811 | (1) |
|
W.H. Auden, As I Walked Out One Evening |
|
|
812 | (2) |
|
Galway Kinnell, Blackberry Eating |
|
|
814 | (1) |
|
|
|
815 | (1) |
|
Lewis Carroll, Jabberwocky |
|
|
816 | (3) |
|
Checklist: Writing about Sound |
|
|
817 | (1) |
|
WRITING SUGGESTIONS: Sound |
|
|
818 | (1) |
|
|
|
819 | (2) |
|
John Keats, On the Sonnet |
|
|
819 | (1) |
|
|
|
819 | (2) |
|
|
|
821 | (3) |
|
|
|
821 | (1) |
|
|
|
822 | (1) |
|
|
|
823 | (1) |
|
William Shakespeare, When, in disgrace with Fortune and men's eyes |
|
|
824 | (1) |
|
FURTHER READING: The Sonnet |
|
|
824 | (1) |
|
John Keats, On First Looking into Chapman's Homer |
|
|
824 | (2) |
|
Gwendolyn Brooks, First Fight. Then Fiddle |
|
|
826 | (1) |
|
|
|
826 | (1) |
|
Alberto Alvaro Rios, Nani |
|
|
827 | (1) |
|
FURTHER READING: The Sestina |
|
|
828 | (1) |
|
Elizabeth Bishop, Sestina |
|
|
828 | (1) |
|
|
|
829 | (1) |
|
Theodore Roethke, The Waking |
|
|
829 | (2) |
|
|
|
830 | (1) |
|
FURTHER READING: The Epigram |
|
|
831 | (1) |
|
Samuel Taylor Coleridge, What Is an Epigram? |
|
|
831 | (1) |
|
William Blake, Her Whole Life Is an Epigram |
|
|
831 | (1) |
|
Martin Espada, Why I Went to College |
|
|
831 | (1) |
|
|
|
832 | (1) |
|
|
|
832 | (1) |
|
|
|
832 | (1) |
|
Carolyn Kizer, After Basho |
|
|
833 | (1) |
|
|
|
833 | (1) |
|
Jack Kerouac, American Haiku |
|
|
834 | (1) |
|
|
|
835 | (1) |
|
|
|
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" |
|
|
838 | (1) |
|
|
|
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 |
|
|
845 | (2) |
|
31 SYMBOL, ALLEGORY, ALLUSION, MYTH |
|
|
847 | (4) |
|
William Blake, The Sick Rose |
|
|
847 | (1) |
|
|
|
847 | (1) |
|
Robert Frost, For Once, Then, Something |
|
|
848 | (1) |
|
Jim Simmerman, Child's Grave, Hale County, Alabama |
|
|
849 | (2) |
|
Emily Dickinson, Volcanoes be in Sicily |
|
|
851 | (1) |
|
|
|
851 | (1) |
|
Edgar Allan Poe, The Raven |
|
|
851 | (4) |
|
|
|
855 | (1) |
|
Christina Rossetti, Uphill |
|
|
855 | (1) |
|
FURTHER READING: Allegory |
|
|
856 | (1) |
|
Adrienne Rich, Diving into the Wreck |
|
|
856 | (3) |
|
|
|
859 | (1) |
|
Wok Soyinka, Future Plans |
|
|
859 | (1) |
|
William Meredith, Dreams of Suicide |
|
|
860 | (1) |
|
FURTHER READING: Allusion |
|
|
861 | (1) |
|
Maxine Kumin, Where Any of Us |
|
|
861 | (1) |
|
|
|
862 | (1) |
|
Countee Cullen, Yet Do I Marvel |
|
|
863 | (1) |
|
|
|
864 | (1) |
|
William Butler Yeats, Leda and the Swan |
|
|
864 | (1) |
|
Derek Walcott, Sea Grapes |
|
|
865 | (1) |
|
W.H. Auden, Museé des Beaux Arts |
|
|
866 | (2) |
|
T.S. Eliot, Journey of the Magi |
|
|
868 | (4) |
|
Checklist: Writing about Symbol, Allegory, Allusion, Myth |
|
|
870 | (1) |
|
WRITING SUGGESTIONS: Symbol, Allegory, Allusion, Myth |
|
|
871 | (1) |
|
32 DISCOVERING THEMES IN POETRY |
|
|
872 | (55) |
|
|
|
872 | (1) |
|
Theodore Roethke, My Papa's Waltz |
|
|
873 | (1) |
|
Edna St. Vincent Millay, The courage that my mother had |
|
|
874 | (1) |
|
Raymond Carver, Photograph of my Father in His Twenty-Second Year |
|
|
874 | (1) |
|
Judith Ortiz Cofer, My Father in the Navy: A Childhood Memory |
|
|
875 | (1) |
|
Mitsuye Yamada, The Night Before Good-bye |
|
|
875 | (1) |
|
|
|
876 | (1) |
|
Dylan Thomas, Do not go gentle into that good night |
|
|
877 | (1) |
|
|
|
878 | (1) |
|
William Wordsworth, I wandered lonely as a cloud |
|
|
878 | (1) |
|
Christina Rossetti, Summer |
|
|
879 | (1) |
|
Gerard Manley Hopkins, The Windhover |
|
|
880 | (1) |
|
|
|
880 | (2) |
|
William Stafford, Traveling through the Dark |
|
|
882 | (1) |
|
|
|
882 | (1) |
|
|
|
883 | (1) |
|
Robert Browning, Meeting at Night |
|
|
883 | (1) |
|
Robert Browning, Parting at Morning |
|
|
884 | (1) |
|
Elizabeth Barrett Browning, How Do I Love Thee? |
|
|
884 | (1) |
|
Edna St. Vincent Millay, What Lips My Lips Have Kissed |
|
|
884 | (1) |
|
Dorothy Parker, General Review of the Sex Situation |
|
|
885 | (1) |
|
|
|
885 | (1) |
|
Rupert Brooke, The Soldier |
|
|
886 | (1) |
|
Wilfred Owen, Dulce et Decorum Est |
|
|
887 | (1) |
|
William Butler Yeats, An Irish Airman Foresees His Death |
|
|
888 | (1) |
|
Robert Lowell, For the Union Dead |
|
|
888 | (2) |
|
Denise Levertov, What Were They Like? |
|
|
890 | (1) |
|
Yusef Komunyakaa, Facing It |
|
|
891 | (1) |
|
Carl Phillips, On the Notion of Tenderness in Wartime |
|
|
892 | (1) |
|
Wislawa Szymborska, The End and the Beginning |
|
|
892 | (2) |
|
33 THE POETRY OF LANGSTON HUGHES: A CASEBOOK FOR READING, RESEARCH, AND WRITING |
|
|
894 | (5) |
|
Langston Hughes, The Negro Speaks of Rivers |
|
|
899 | (1) |
|
Langston Hughes, Mother to Son |
|
|
899 | (1) |
|
Langston Hughes, Dream Variations |
|
|
900 | (1) |
|
Langston Hughes, The Weary Blues |
|
|
900 | (1) |
|
|
|
901 | (1) |
|
Langston Hughes, Song for a Dark Girl |
|
|
902 | (1) |
|
Langston Hughes, Ballad of the Landlord |
|
|
902 | (1) |
|
Langston Hughes, Theme for English B |
|
|
903 | (1) |
|
Langston Hughes, Dream Boogie |
|
|
904 | (1) |
|
Langston Hughes, Birmingham Sunday (September 15, 1963) |
|
|
905 | (2) |
|
Langston Hughes, Lenox Avenue: Midnight |
|
|
907 | (1) |
|
Langston Hughes, Un-American Investigators |
|
|
908 | (1) |
|
Langston Hughes, Dinner Guest: Me |
|
|
909 | (1) |
|
Langston Hughes, from The Negro Artist and the Racial Mountain |
|
|
910 | (2) |
|
Langston Hughes, To Negro Writers |
|
|
912 | (2) |
|
Langston Hughes, from My Adventures as a Social Poet |
|
|
914 | (3) |
|
Arnold Rampersad, from The Origins of Poetry in Langston Hughes |
|
|
917 | (4) |
|
Herman Beavers, from Dead Rocks and Sleeping Men: Aurality in the Aesthetic of Langston Hughes |
|
|
921 | (2) |
|
Steven C. Tracy from "Midnight Ruffles of Cat-Gut Lace": The Boogie Poems of Langston Hughes |
|
|
923 | (1) |
|
Karen Jackson Ford, from Do Right to Write Right: Langston Hughes's Aesthetics of Simplicity |
|
|
924 | (3) |
|
George B. Hutchinson, from Langston Hughes and the 'Other' Whitman |
|
|
927 | (8) |
|
Topics for Further Research |
|
|
928 | (97) |
|
Student Paper: Challenging the Father/ Challenging the Self: Langston Hughes's "The Negro Speaks of Rivers" |
|
|
929 | (6) |
|
34 POETRY FOR FURTHER READING |
|
|
935 | (154) |
|
Elizabeth Alexander, Apollo |
|
|
935 | (1) |
|
Sherman J. Alexie, Defending Walt Whitman |
|
|
936 | (1) |
|
|
|
937 | (1) |
|
Anonymous, Bonny Barbara Allan |
|
|
938 | (1) |
|
|
|
939 | (1) |
|
|
|
940 | (1) |
|
Matthew Arnold, Dover Beach |
|
|
940 | (1) |
|
Elizabeth Bishop, The Fish |
|
|
941 | (2) |
|
|
|
943 | (1) |
|
William Blake, To see a World in a Grain of Sand |
|
|
944 | (1) |
|
|
|
944 | (1) |
|
Anne Bradstreet, The Author to Her Book |
|
|
945 | (1) |
|
Gwendolyn Brooks, Medgar Evers |
|
|
945 | (1) |
|
George Gordon, Lord Byron, She Walks in Beauty |
|
|
946 | (1) |
|
Thomas Campion, There is a garden in her face |
|
|
946 | (1) |
|
Geoffrey Chaucer, from The Canterbury Tales |
|
|
947 | (2) |
|
Lucille Clifton, Praise Song |
|
|
949 | (1) |
|
Samuel Taylor Coleridge, Kubla Khan |
|
|
949 | (2) |
|
Billy Collins, Introduction to Poetry |
|
|
951 | (1) |
|
Hart Crane, To Brooklyn Bridge |
|
|
951 | (1) |
|
E.E. Cummings, Buffalo Bill's |
|
|
952 | (1) |
|
E.E. Cummings, next to of course god america i |
|
|
953 | (1) |
|
Emily Dickinson, After great pain, a formal feeling comes |
|
|
953 | (1) |
|
Emily Dickinson, Because I could not stop for Death |
|
|
954 | (1) |
|
Emily Dickinson, "Faith" is a fine invention |
|
|
954 | (1) |
|
Emily Dickinson, I dwell in Possibility |
|
|
955 | (1) |
|
Emily Dickinson, I heard a Fly buzz—when I died |
|
|
955 | (1) |
|
Emily Dickinson, Success is counted sweetest |
|
|
956 | (1) |
|
Emily Dickinson, Tell all the Truth but tell it slant |
|
|
956 | (1) |
|
Emily Dickinson, Wild Nights—Wild Nights! |
|
|
956 | (1) |
|
John Donne, Batter My Heart, Three-Personed God |
|
|
957 | (1) |
|
John Donne, Death Be Not Proud |
|
|
957 | (1) |
|
|
|
957 | (1) |
|
Rita Dove, Fox Trot Fridays |
|
|
958 | (1) |
|
Paul Laurence Dunbar, We Wear the Mask |
|
|
959 | (1) |
|
Stephen Dunn, Waiting with Two Members of a Motorcycle Gang for My Child to Be Born |
|
|
959 | (1) |
|
T.S. Eliot, The Love Song of J. Alfred Prufrock |
|
|
960 | (4) |
|
James A. Emanuel, Emmett Till |
|
|
964 | (1) |
|
Louise Erdrich, Indian Boarding School: The Runaways |
|
|
964 | (1) |
|
Robert Frost, Acquainted with the Night |
|
|
965 | (1) |
|
|
|
966 | (1) |
|
Robert Frost, Mending Wall |
|
|
966 | (1) |
|
Robert Frost, The Road Not Taken |
|
|
967 | (1) |
|
Robert Frost, Stopping by Woods on a Snowy Evening |
|
|
968 | (1) |
|
Federico Garcia Lorca, Arbolé Arbolé... |
|
|
968 | (2) |
|
Nikki Giovanni, Nikki-Rosa |
|
|
970 | (1) |
|
H.D. (Hilda Doolittle), Helen |
|
|
971 | (1) |
|
Thomas Hardy, The Convergence of the Twain |
|
|
971 | (2) |
|
Seamus Heaney, Mid-Term Break |
|
|
973 | (1) |
|
Edward Hirsch, Fast Break |
|
|
973 | (1) |
|
Gerard Manley Hopkins, God's Grandeur |
|
|
974 | (1) |
|
|
|
975 | (1) |
|
Mary Karr, A Blessing from My Sixteen Years' Son |
|
|
975 | (2) |
|
John Keats, La Belle Dame sans Merci: A Ballad |
|
|
977 | (1) |
|
John Keats, Ode on a Grecian Urn |
|
|
978 | (2) |
|
John Keats, When I Have Fears |
|
|
980 | (1) |
|
Aron Keesbury, On the Robbery across the Street |
|
|
980 | (1) |
|
Yusef Komunyakaa, Ignis Fatuus |
|
|
981 | (1) |
|
Ted Kooser, Selecting a Reader |
|
|
982 | (1) |
|
|
|
982 | (2) |
|
|
|
984 | (1) |
|
Archibald MacLeish, Ars Poetica |
|
|
985 | (1) |
|
Christopher Marlowe, The Passionate Shepherd to His Love |
|
|
985 | (1) |
|
Claude McKay, If We Must Die |
|
|
986 | (1) |
|
James Merrill, Page from the Koran |
|
|
987 | (1) |
|
W.S. Merwin, To My Brother |
|
|
987 | (1) |
|
Pablo Neruda, The United Fruit Co. |
|
|
988 | (1) |
|
Sharon Olds, The One Girl at the Boys' Party |
|
|
989 | (1) |
|
Judith Ortiz Cofer, Claims |
|
|
990 | (1) |
|
|
|
990 | (1) |
|
Marge Piercy, Barbie Doll |
|
|
991 | (1) |
|
|
|
991 | (2) |
|
|
|
993 | (1) |
|
Ezra Pound, The River-Merchant's Wife: A Letter |
|
|
993 | (1) |
|
Sir Walter Raleigh, The Nymph's Reply to the Shepherd |
|
|
994 | (1) |
|
Henry Reed, Naming of Parts |
|
|
995 | (1) |
|
Edwin Arlington Robinson, Miniver Cheevy |
|
|
996 | (1) |
|
Edwin Arlington Robinson, Richard Cory |
|
|
997 | (1) |
|
Sonia Sanchez, right on: white america |
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997 | (1) |
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998 | (1) |
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William Shakespeare, Let me not to the marriage of true minds |
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998 | (1) |
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William Shakespeare, Not marble, nor the gilded monuments |
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999 | (1) |
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Percy Bysshe Shelley, Ode to the West Wind |
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999 | (2) |
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Charles Simic, Old Soldier |
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1001 | (1) |
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Stevie Smith, Not Waving but Drowning |
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1002 | (1) |
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1002 | (2) |
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Gary Soto, Saturday at the Canal |
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1004 | (1) |
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William Stafford, An Afternoon in the Stacks |
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1005 | (1) |
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Wallace Stevens, Anecdote of the Jar |
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1005 | (1) |
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Wallace Stevens, The Emperor of Ice-Cream |
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1005 | (1) |
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1006 | (1) |
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Virgil Suárez, La Florida |
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1006 | (1) |
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1007 | (1) |
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Alfred, Lord Tennyson, Ulysses |
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1008 | (1) |
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Mona Van Duyn, In Bed with a Book |
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1009 | (1) |
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Phillis Wheatley, On Being Brought from Africa to America |
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1010 | (1) |
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Walt Whitman, A Noiseless Patient Spider |
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1010 | (1) |
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Walt Whitman, from "Song of Myself" |
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1011 | (1) |
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Richard Wilbur, Man Running |
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1012 | (1) |
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1013 | (2) |
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William Carlos Williams, The Dance |
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1015 | (1) |
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William Wordsworth, Composed upon Westminster Bridge, September 3, 1802 |
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1015 | (1) |
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William Wordsworth, London, 1802 |
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1016 | (1) |
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William Wordsworth, My heart leaps up when I behold |
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1016 | (1) |
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William Wordsworth, The Solitary Reaper |
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1016 | (1) |
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Charles Wright, In Praise of Han Shan |
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1017 | (1) |
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William Butler Yeats, Crazy Jane Talks with the Bishop |
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1018 | (1) |
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William Butler Yeats, The Lake Isle of Innisfree |
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1018 | (1) |
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William Butler Yeats, Sailing to Byzantium |
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1019 | (1) |
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William Butler Yeats, The Second Coming |
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1020 | (1) |
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Adam Zagajewski, Poetry Searches for Radiance |
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1020 | (3) |
| PART 4 DRAMA |
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1023 | (1) |
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1025 | (604) |
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1025 | (9) |
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The Ancient Greek Theater |
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1025 | (2) |
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1027 | (4) |
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1031 | (3) |
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1034 | (6) |
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1034 | (3) |
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1037 | (3) |
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1040 | (1) |
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1040 | (2) |
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Recognizing Kinds of Drama |
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1042 | (1) |
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1043 | (12) |
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36 DRAMA SAMPLER: TEN-MINUTE PLAYS |
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1055 | (1) |
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1055 | (5) |
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1060 | (4) |
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Arlene Hutton, I Dream Before I Take the Stand |
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1064 | (14) |
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1078 | (6) |
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37 READING AND WRITING ABOUT DRAMA |
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1084 | (1) |
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1084 | (2) |
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1085 | (1) |
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1086 | (18) |
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1086 | (3) |
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1089 | (3) |
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Student Paper: The Women's Role in Trifles (First Draft) |
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1090 | (2) |
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Revising and Editing an Essay |
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1092 | (12) |
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Student Paper: Confinement and Rebellion in Trifles (Second Draft) |
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1093 | (5) |
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Student Paper: Desperate Measures: Acts of Defiance in Trifles (Final Draft) |
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1098 | (6) |
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1104 | (3) |
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1104 | (2) |
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1105 | (1) |
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1106 | (2) |
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1107 | (1) |
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1107 | (14) |
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Checklist: Writing about Plot |
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1107 | (1) |
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1108 | (13) |
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Henrik Ibsen, A Doll House |
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1121 | (57) |
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WRITING SUGGESTIONS: Plot |
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1176 | (1) |
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1177 | (1) |
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1178 | (5) |
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Formal and Informal Language |
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1179 | (1) |
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Plain and Elaborate Language |
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1180 | (2) |
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1182 | (1) |
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1182 | (1) |
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1183 | (1) |
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1184 | (1) |
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1185 | (3) |
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Checklist: Writing about Character |
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1187 | (1) |
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August Strindberg, The Stronger |
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1188 | (5) |
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1193 | (55) |
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Arthur Miller, Death of a Salesman |
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1248 | (74) |
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William Shakespeare, Hamlet |
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1322 | (104) |
|
WRITING SUGGESTIONS: Character |
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1425 | (1) |
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1426 | (2) |
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1426 | (2) |
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1428 | (3) |
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1428 | (1) |
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1428 | (1) |
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1429 | (1) |
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1429 | (2) |
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Checklist: Writing about Staging |
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1430 | (1) |
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Sophocles, Oedipus the King |
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1431 | (43) |
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WRITING SUGGESTIONS: Staging |
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1473 | (1) |
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1474 | (12) |
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1474 | (1) |
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1475 | (1) |
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1476 | (1) |
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1476 | (1) |
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1477 | (1) |
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Checklist: Writing about Theme |
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|
1478 | (1) |
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David Henry Hwang, Trying to Find Chinatown |
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|
1478 | (8) |
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1486 | (57) |
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WRITING SUGGESTIONS: Theme |
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1539 | (1) |
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42 TENNESSEE WILLIAMS'S THE GLASS MENAGERIE: A CASEBOOK FOR READING, RESEARCH, AND WRITING |
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1540 | (74) |
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Tennessee Williams, The Glass Menagerie |
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1543 | (50) |
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Tennessee Williams, Author's Production Notes (Preface to the Published Edition) |
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1593 | (2) |
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Jacqueline O'Connor, from Dramatizing Dementia: Madness in the Plays of Tennessee Williams |
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1595 | (1) |
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Tennessee Williams, from Tennessee Williams: Memoirs |
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1596 | (3) |
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Jean Evans, Interview 1945 |
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1599 | (4) |
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Thomas L.L. King, from Irony and Distance in The Glass Menagerie 1600 g r |
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Nancy Marie Patterson Tischler, from Student Companion to Tennessee Williams |
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1603 | (2) |
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Roger B. Stein, from The Glass Menagerie Revisited: Catastrophe without Violence |
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1605 | (2) |
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Tom Scanlan, from Family, Drama, and American Dreams |
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1607 | (3) |
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James Fisher, from "The Angels of Fructification": Tennessee Williams, Tony Kushner, and Images of Homosexuality on the American Stage |
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1610 | (4) |
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Tennessee Williams, Portrait of a Girl in Glass |
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|
1614 | (16) |
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Topics for Further Research |
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|
1621 | (9) |
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Student Paper: Laura's Gentleman Caller |
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|
1622 | (7) |
| Appendix: Using Literary Criticism in Your Writing |
|
1629 | (1) |
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|
1629 | |
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A Formalist Reading: Kate Chopin's "The Storm" |
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1630 | (2) |
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FOR FURTHER READING: Formalism |
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1631 | (1) |
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Reader-Response Criticism |
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1631 | (1) |
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Reader-Response Readings: Kate Chopin's "The Storm" |
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1632 | (4) |
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FOR FURTHER READING: Reader-Response Criticism |
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1633 | (1) |
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1634 | (1) |
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1635 | (1) |
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A Feminist Reading: Tillie Olsen's "I Stand Here Ironing" |
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1636 | (2) |
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FOR FURTHER READING: Feminist Criticism |
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1636 | (1) |
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1637 | (1) |
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A Marxist Reading: Tillie Olsen's "I Stand Here Ironing" |
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1638 | (2) |
|
FOR FURTHER READING: Marxist Criticism |
|
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1638 | (1) |
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1639 | (1) |
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A New Historicist Reading: Charlotte Perkins Gilman's "The Yellow Wallpaper" |
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|
1640 | (3) |
|
FOR FURTHER READING: New Historicist Criticism |
|
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1641 | (1) |
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1641 | (2) |
|
A Psychoanalytic Reading: Edgar Allan Poe's "The Cask of Amontillado" |
|
|
1643 | (2) |
|
FOR FURTHER READING: Psychoanalytic Criticism |
|
|
1644 | (1) |
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1644 | (1) |
|
A Structuralist Reading: William Faulkner's "Barn Burning" |
|
|
1645 | (2) |
|
FOR FURTHER READING: Structuralism |
|
|
1646 | (1) |
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1646 | (1) |
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A Deconstructionist Reading: Flannery O'Connor's "A Good Man Is Hard to Find" |
|
|
1647 | |
|
FOR FURTHER READING: Deconstruction |
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|
1648 | |
| Glossary of Literary Terms |
|
G1 | |
| Credits |
|
C1 | |
| Index of First Lines of Poetry |
|
I1 | |
| Index of Authors and Titles |
|
I5 | |
| Index of Literary Terms |
|
I14 | |
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