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Literature: An Introduction to Fiction, Poetry, and Drama : Compact Edition

by ;
Edition:
2nd
ISBN13:

9780321015556

ISBN10:
032101555X
Format:
Paperback
Pub. Date:
8/1/1999
Publisher(s):
Pearson College Div
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Summary

Kennedy and Gioia's Literature, Second Compact Edition, offers an excellent introduction to the study of fiction, poetry, and drama. Reflecting a balance of canonical works along with contemporary and diverse literature, the new edition includes more coverage of writing and more student research papers. As in past editions, the authors' voice invites students on a journey of discovery by sharing their knowledge in an intelligent and down-to-earth style.

Table of Contents

(Most chapters conclude with Writing Assignments and Further Suggestions for Writing.)

FICTION.

1. Reading a Story.
Fable and Tale.

The Appointment in Samarra, W. Somerset Maugham.

Godfather Death, Jakob and Wilhelm Grimm.

Independence, Chuang Tzu.
Plot.
The Short Story.
A & P, John Updike.
Writer's Perspective.

John Updike on Writing, Why Write?
Writing Critically.
What's the Plot?

2. Point of View.

A Rose for Emily, William Faulkner.

The Tell-Tale Heart, Edgar Allan Poe.

Cathedral, Raymond Carver.

Miss Brill, Katherine Mansfield.
Writer's Perspective.

Katherine Mansfield on Writing, Creating “Miss Brill” .
Writing Critically.
How Point of View Shapes a Story.
Student Essay, Raymond Carver's Use of First-Person Point of View in “Cathedral” .

3. Character.

The Jilting of Granny Weatherall, Katherine Anne Porter.

Everyday Use, Alice Walker.

Gimpel the Fool, Isaac Bashevis Singer translated by Saul Bellow.
Writer's Perspective.

Isaac Bashevis Singer on Writing, The Character of Gimpel.
Writing Critically.
How Character Creates Action.

4. Setting.

The Storm, Kate Chopin.

To Build a Fire, Jack London.

Greasy Lake, T. Coraghessan Boyle.

A Pair of Tickets, Amy Tan.
Writer's Perspective.
Amy Tan on Writing, Setting the Voice.
Writing Critically.
How Time and Place Set a Story.

5. Tone and Style.

A Clean, Well-Lighted Place, Ernest Hemingway.

Barn Burning, William Faulkner.
Irony.

The Necklace, Guy de Maupassant.

The Gospel According to Mark, Jorge Luis Borges.
Writer's Perspective.

Ernest Hemingway on Writing, The Direct Style.
Writing Critically.
Be Style Conscious.

6. Theme.

The Open Boat, Stephen Crane.

Young Goodman Brown, Nathaniel Hawthorne.

The Parable of the Prodigal Son, Luke 15: 11-32.

Harrison Bergeron, Kurt Vonnegut, Jr.

Writer's Perspective.

Kurt Vonnegut, Jr. on Writing, The Themes of Science Fiction.

Writing Critically.
Stating the Theme.

7. Symbol.

The Chrysanthemums, John Steinbeck.

The Lottery, Shirley Jackson.

The Ones Who Walk Away from Omelas, Ursula K. Le Guin.
Writer's Perspective.
Ursula K. Le Guin on Writing, Note on “The Ones Who Walk Away from Omelas” .
Writing Critically.
Recognizing Symbols.
Student Essay, An Analysis of the Symbolism in Steinbeck's “The Chrysanthemums” .

8. Evaluating a Story.
Writing Critically.
Know What You're Judging.

9. Reading Long Stories and Novels.

Sonny's Blues, James Baldwin.

The Metamorphosis, Franz Kafka.
Writer's Perspective.
Franz Kafka on Writing, Discussing The Metamorphosis.
Writing Critically.
Leaving Things Out.

10. A Writer in Depth.
Flannery O'Connor.

Everything That Rises Must Converge, Flannery O'Connor.

A Good Man is Hard to Find, Flannery O'Connor.
Writer's Perspective.
Flannery O'Connor on Writing, The Element of Suspense in “A Good Man is Hard to Find” .
Flannery O'Connor on Writing, The Serious Writer and the Tired Reader.
Writing Critically.
How One Story Illuminates Another.

11. Stories for Further Reading.

Civil Peace, Chinua Achebe.

Paul's Case, Willa Cather.

Barbie-Q, Sandra Cisneros.

Battle Royal, Ralph Ellison.

1933, Mavis Gallant.

A Very Old Man with Enormous Wings, Gabriel Garcìa Màrquez.

The Yellow Wallpaper, Charlotte Perkins Gilman.

On the Road, Langston Hughes.

Sweat, Zora Neale Hurston.

In the American Society, Gish Jen.

Araby, James Joyce.

Girl, Jamaica Kincaid.

The Rocking-Horse Winner, D. H. Lawrence.

A Woman on a Roof, Doris Lessing.

How I Met My Husband, Alice Munro.

Where Are You Going, Where Have You Been?, Joyce Carol Oates.

The Things They Carried, Tim O'Brien.

I Stand Here Ironing, Tillie Olsen.

The Man to Send Rain Clouds, Leslie Marmon Silko.

A Visit of Charity, Eudora Welty.

POETRY.

12. Reading a Poem.

The Lake Isle of Innisfree, William Butler Yeats.
Lyric Poetry.

Piano, D. H. Lawrence.

Aunt Jennifer's Tigers, Adrienne Rich.
Narrative Poetry.

Sir Patrick Spence, Anonymous.

“Out, Out—,” Robert Frost.
Dramatic Poetry.

My Last Duchess, Robert Browning.
Writer's Perspective.
Adrienne Rich on Writing, Recalling “Aunt Jennifer's Tigers” .
Writing Critically.
Can a Poem be Paraphrased?

Ask Me, William Stafford.
William Stafford, A Paraphrase of “Ask Me” .

13. Listening to a Voice.
Tone.

My Papa's Waltz, Theodore Roethke.

For a Lady I Know, Countee Cullen.

The Author to Her Book, Anne Bradstreet.

To a Locomotive in Winter, Walt Whitman.

I like to see it lap the Miles, Emily Dickinson.

For My Daughter, Weldon Kees.
The Person in the Poem.

Birch Canoe, Carter Revard.

Luke Havergal, Edwin Arlington Robinson.

The Gold Lily, Louise Glück.

I Wandered Lonely as a Cloud, William Wordsworth.

A Glass of Beer, James Stephens.

The Red Wheelbarrow, William Carlos Williams.
Irony.

Oh No, Robert Creeley.

The Unknown Citizen, W. H. Auden.

The Golf Links, Sarah N. Cleghorn.

I Stop Writing the Poem, Tess Gallagher.

The Workbox, Thomas Hardy.
For Review and Further Study.

High Treason, José Emilio Pacheco.

At the Un-National Monument Along the Canadian Border, William Stafford.

To Lucasta, Richard Lovelace.

Dulce et Decorum Est, Wilfred Owen.
Writer's Perspective.
Wilfred Owen on Writing, War Poetry.
Writing Critically.
Paying Attention to the Obvious.
Student Essay, Word Choice and Point of View in Roethke's “My Papa's Waltz” .

14. Words.
Literal Meaning: What a Poem Says First.

This Is Just to Say, William Carlos Williams.

Silence, Marianne Moore.

Down, Wanton, Down!, Robert Graves.

Looking Up at Leaves, Barbara Howes.

Batter my heart, three-personed God, for You, John Donne.
The Value of a Dictionary.

In the Elegy Season, Richard Wilbur.

Friend, on This Scaffold Thomas More Lies Dead, J. V. Cunningham.

Advice to a Friend Who Paints, Kelly Cherry.
Aftermath, Henry Wadsworth Longfellow.
Word Choice and Word Order.

Reason, Josephine Miles.

How I Came to Have a Man's Name, Emma Lee Warrior.

The Ruined Maid, Thomas Hardy.

The Fury of Aerial Bombardment, Richard Eberhart.

Lonely Hearts, Wendy Cope.
For Review and Further Study.

anyone lived in a pretty how town, e. e. cummings.

Upon Julia's Clothes, Robert Herrick.

Carnation Milk, Anonymous.

My Heart Leaps Up When I Behold, William Wordsworth.

Mutability, William Wordsworth.

Jabberwocky, Lewis Carroll.
Writer's Perspective.
Lewis Carroll on Writing, Humpty Dumpty Explicates “Jabberwocky” .
Writing Critically.
How Much Difference Does a Word Make?

15. Saying and Suggesting.

Cargoes, John Masefield.

London, William Blake.

Disillusionment of Ten O'Clock, Wallace Stevens.

The Bean Eaters, Gwendolyn Brooks.

Epitaph, Timothy Steele.

The Listeners, Walter de la Mare.

Fire and Ice, Robert Frost.

Song, Cynthia Zarin.

Tears, Idle Tears, Alfred, Lord Tennyson.

Love Calls Us to the Things of This World, Richard Wilbur.
Writer's Perspective.
Richard Wilbur on Writing, Concerning “Love Calls Us to the Things of This World” .
Writing Critically.
The Ways a Poem Suggests.

16. Imagery.

In a Station of the Metro, Ezra Pound.

The Piercing Chill I Feel, Taniguchi Buson.

The Winter Evening Settles Down, T.S. Eliot.

Root Cellar, Theodore Roethke.

The Fish, Elizabeth Bishop.

A Route of Evanescence, Emily Dickinson.

Reapers, Jean Toomer.

Pied Beauty, Gerard Manley Hopkins.
About Haiku.

The Falling Flower, Arakida Moritake.

Heat-lightning Streak, Matsuo Basho.

In the Old Stone Pool, Matsuo Basho.

On the One-ton Temple Bell, Taniguchi Buson.

I Go, Taniguchi Buson.

Only One Guy, Kobayashi Issa.

Cricket, Kobayashi Issa.

A Selection of Haiku, Gary Snyder, Jennifer Brutschy, Hayden Carruth, Etheridge Knight.
For Review and Further Study.

Bright Star! Would I Were Steadfast as Thou Art, John Keats.

The Runner, Walt Whitman.

Image, T. E. Hulme.

Driving to Town Late to Mail a Letter, Robert Bly.

Mid-August at Sourdough Mountain Lookout, Gary Snyder.

Heat, H. D.

Not Waving but Drowning, Stevie Smith.
Writer's Perspective.
Ezra Pound on Writing, The Image.
Writing Critically.
Analyzing Images.
Student Paper, Elizabeth Bishop's Use of Imagery in “The Fish” .

17. Figures of Speech.
Why Speak Figuratively?

The Eagle, Alfred, Lord Tennyson.

Shall I Compare Thee to a Summer's Day?, William Shakespeare.

Shall I Compare Thee to a Summer's Day?, Howard Moss.
Metaphor and Simile.

My Life Had Stood—a Loaded Gun, Emily Dickinson.

Flower in the Crannied Wall, Alfred, Lord Tennyson.

To See a World in a Grain of Sand, William Blake.

Metaphors, Sylvia Plath.

Simile, N. Scott Momaday.
Other Figures.

The Wind, James Stephens.

Elegy, Written with His Own Hand, Chidiock Tichborne.

You fit into me, Margaret Atwood.

The Cathedral Is, John Ashbery.
For Review and Further Study.

The Silken Tent, Robert Frost.

Leaving Forever, Denise Levertov.

The Suitor, Jane Kenyon.

The Secret Sits, Robert Frost.

Song of Man Chipping an Arrowhead, W. S. Merwin.

Coward, A. R. Ammons.
Writer's Perspective.
Robert Frost on Writing, The Importance of Poetic Metaphor.
Writing Critically.
How Metaphors Enlarge a Poem's Meaning.

18. Song.
Singing and Saying.

To Celia, Ben Jonson.

The Cruel Mother, Anonymous.

Peter Piper, Run D.M.C.

Take, O, Take Those Lips Away, William Shakespeare.

Richard Cory, Edwin Arlington Robinson.

Richard Cory, Paul Simon.
Ballads.

Bonny Barbara Allan, Anonymous.

Ballad of Birmingham, Dudley Randall.
Blues.

Jailhouse Blues, Bessie Smith with Clarence Williams.

Funeral Blues, W. H. Auden.
For Review and Further Study.

Eleanor Rigby, John Lennon and Paul McCartney.
Writer's Perspective.
Paul McCartney on Writing, Creating “Eleanor Rigby” .
Writing Critically.
Is There a Difference between Poetry and Song?

19. Sound.
Sound as Meaning.

True Ease in Writing comes from Art, not Chance, Alexander Pope.

Who Goes with Fergus?, William Butler Yeats.

Recital, John Updike.

The Watch, Frances Cornford.
Alliteration and Assonance.

Eight O'Clock, A. E. Housman.

Upon Julia's Voice, Robert Herrick.

The splendor falls on castle walls, Alfred, Lord Tennyson.
Rime.

On my boat on Lake Cayuga, William Cole.

The Angel that Presided O'er my Birth, William Blake.

The Hippopotamus, Hilaire Belloc.

God's Grandeur, Gerard Manley Hopkins.

Narcissus and Echo, Fred Chappell.

Desert Places, Robert Frost.
Reading and Hearing Poems Out Loud.

In Memoriam John Coltrane, Michael Stillman.

Full Fathom Five Thy Father Lies, William Shakespeare.

Virginia, T.S. Eliot.
Writer's Perspective.
T. S. Eliot on Writing, The Music of Poetry.
Writing Critically.
Is it Possible to Write About Sound?

20. Rhythm.
Stresses and Pauses.

We Real Cool, Gwendolyn Brooks.

Break, Break, Break, Alfred, Lord Tennyson.

Slow, Slow, Fresh Fount, Keep Time with my Salt Tears, Ben Jonson,

With Serving Still, Sir Thomas Wyatt.

Résumé, Dorothy Parker.
Meter.

On the Imprint of the First English Edition of The Works of Max Beerbohm, Max Beerbohm.

On Seeing a Hair of Lucretia Borgia, Walter Savage Landor.

Counting-out Rhyme, Edna St. Vincent Millay.

When I was one-and-twenty, A. E. Housman.

The Descent of Winter, William Carlos Williams.

Beat! Beat! Drums!, Walt Whitman.

Song of the Powers, David Mason.
Writer's Perspective.
Gwendolyn Brooks on Writing, Hearing “We Real Cool” .
Writing Critically.
Freeze-Framing the Sound.

21. Closed Form.
Formal Patterns.

This Living Hand, Now Warm and Capable, John Keats.

Counting the Beats, Robert Graves.

Song (“Go and catch a falling star” ), John Donne.
The Sonnet.

Let Me Not to the Marriage of True Minds, William Shakespeare.

What Lips my Lips Have Kissed, and Where, and Why, Edna St. Vincent Millay.

Acquainted with the Night, Robert Frost.

First Poem For You, Kim Addonizio.

Scenes from the Playroom, R. S. Gwynn.
The Epigram.

A Selection of Epigrams, Alexander Pope, Sir John Harrington, Robert Herrick, Langston Hughes, J. V. Cunningham, John Frederick Nims, Stevie Smith, Hilaire Belloc, Wendy Cope.
Other Forms.

Do not go Gentle into that Good Night, Dylan Thomas.

Triolet, Robert Bridge.

Sestina, Elizabeth Bishop.
Writer's Perspective.
Robert Graves on Writing, Poetic Inspiration and Poetic Form.
Writing Critically.
Turning Points.

22. Open Form.

Six Variations (Part III), Denise Levertov.

Buffalo Bill 's, E. E. Cummings.

The Dance, William Carlos Williams.

The Heart, Stephen Crane.

Cavalry Crossing a Ford, Walt Whitman.

Thirteen Ways of Looking at a Blackbird, Wallace Stevens.

The Colonel, Carolyn Forché.
Visual Poetry.

Easter Wings, George Herbert.

Swan and Shadow, John Hollander.

Concrete Cat, Dorthi Charles.
Seeing the Logic of Open Form.

in Just-, E. E. Cummings.

Jump Cabling, Linda Pastan.

Homage to my Hips, Lucille Clifton.

I Shall Paint My Nails Red, Carole Satyamurti.
Writer's Perspective.
Walt Whitman on Writing, The Poetry of the Future.
Writing Critically.
Lining Up For Free Verse.

23. Symbol.

The Boston Evening Transcript, T.S. Eliot.

The Lightning is a Yellow Fork, Emily Dickinson.

Neutral Tones, Thomas Hardy.

The Parable of the Good Seed, Matthew 13:24-30.

Redemption, George Herbert.

The Road Not Taken, Robert Frost.

Uphill, Christina Rossetti.
For Review and Further Study.

The Beaks of Eagles, Robinson Jeffers.

The Flight, Sara Teasdale.

Poem (“As the cat” ), William Carlos Williams.

Carrie, Ted Kooser.

Popcorn-can Cover, Lorine Niedecker.

Anecdote of the Jar, Wallace Stevens.
Writer's Perspective.
William Butler Yeats on Writing, Poetic Symbols.
Writing Critically.
How to Read a Symbol.

24. Myth and Narrative.

Nothing Gold Can Stay, Robert Frost.

The Oxen, Thomas Hardy.

The World Is Too Much with Us, William Wordsworth.

Medusa, Louise Bogan.
Personal Myth.

The Second Coming, William Butler Yeats.
Myth and Popular Culture.

Taken Up, Charles Martin.

Cinderella, Anne Sexton.
Writer's Perspective.
Anne Sexton on Writing, Transforming Fairy Tales.
Writing Critically.
Demystifying Myth.

25. Poetry and Personal Identity.

Lady Lazarus, Sylvia Plath.

The Women on my Mother's Side Were Known, Julia Alvarez.
Race and Ethnicity.

America, Claude McKay.

Poem in Which I Refuse Contemplation, Rita Dove.

The Shrine Whose Shape I Am, Samuel Menashe.

The X in My Name, Francisco X. Alarcón.

For the White Poets Who Would be Indian, Wendy Rose.

Facing It, Yusef Komunyakaa.
Gender.

Sous-Entendu, Anne Stevenson.

Men at Forty, Donald Justice.

Women, Adrienne Rich.
For Review and Further Study.

To Li Po, Shirley Geok-lin Lim.

Quinceañera, Judith Ortiz Cofer.

Aubade, Philip Larkin.
Writer's Perspective.
Julia Alvarez on Writing, Discovering My Voice in English.
Writing Critically.
Poetic Voice and Personal Identity.

26. Evaluating a Poem.

O Moon, When I Gaze on thy Beautiful Face, Anonymous.

Life, Grace Treasone.

My Wife Is My Shirt, Stephen Tropp.

A Dying Tiger—moaned for Drink, Emily Dickinson.

Thoughts on Capital Punishment, Rod McKuen.

Traveling Through the Dark, William Stafford.
Knowing Excellence.

Sailing to Byzantium, William Butler Yeats.

On the Vanity of Earthly Greatness, Arthur Guiterman.

Ozymandias, Percy Bysshe Shelley.

My mistress' Eyes are Nothing Like the Sun, William Shakespeare.

Four-Word Lines, May Swenson.

Elegy Written in a Country Churchyard, Thomas Gray.

The New Colossus, Emma Lazarus.

Annabel Lee, Edgar Allan Poe.
Writer's Perspective.
Edgar Allan Poe on Writing, A Long Poem Does Not Exist.
Writing Critically.
How to Begin Evaluating a Poem.

27. What is Poetry?

28. Two Poets in Depth.
Emily Dickinson.
Biographical Note.
Emily Dickinson, Success is counted sweetest, Wild Nights—Wild Nights!, I Felt a Funeral, in my Brain, I'm Nobody! Who are you?, The Soul selects her own Society, After great pain, a formal feeling comes, Because I could not stop for Death, Some keep the Sabbath going to Church, Tell all the Truth but tell it slant.
Writer's Perspective.
Emily Dickinson on Writing, Recognizing Poetry.
Langston Hughes.
Biographical Note.
Langston Hughes, The Negro Speaks of Rivers, The Weary Blues, I, Too, Song for a Dark Girl, Island, Subway Rush Hour, Sliver, Harlem Dream Deferred, Theme for English B.
Writer's Perspective.
Langston Hughes on Writing, The Negro Artist and the Racial Mountain.
Suggestions for Writing.

29. Poems for Further Reading.

Edward, Anonymous.

The Twa Corbies, Anonymous.

Western Wind, Anonymous.

Last Words of the Prophet (Navajo Mountain Chant), Anonymous.

Dover Beach, Matthew Arnold.

At North Farm, John Ashbery.

Siren Song, Margaret Atwood.

As I Walked Out One Evening, W. H. Auden.

Musée des Beaux Arts, W. H. Auden.

One Art, Elizabeth Bishop.

The Tyger, William Blake.

Love and Friendship, Emily Brontë.

The Mother, Gwendolyn Brooks.

How Do I Love Thee? Let Me Count the Ways, Elizabeth Barrett.

Soliloquy of the Spanish Cloister, Robert Browning.

Kubla Khan, Samuel Taylor Coleridge.

somewhere i have never traveled, gladly beyond, E. E. Cummings.

Death be not proud, John Donne.

The Flea, John Donne.

Daystar, Rita Dove.

To the Memory of Mr. Oldham, John Dryden.

The Love Song of J. Alfred Prufrock, T.S. Eliot.

Indian Boarding School: The Runaways, Louise Erdrich.

Birches, Mending Wall, Stopping by Woods on a Snowy Evening, Robert Frost.

A Supermarket in California, Allen Ginsberg.

Names of Horses, Donald Hall.

The Convergence of the Twain, Hap, Thomas Hardy.

Those Winter Sundays, Robert Hayden.

Helen, H. D.

Digging, Seamus Heaney.

Love, George Herbert.

To the Virgins to Make Much of Time, Robert Herrick.

Spring and Fall, The Windhover, Gerald Manley Hopkins.

Loveliest of Trees, the Cherry Now, A. E. Housman.

To an Athlete Dying Young, A. E. Housman.

The Death of the Ball Turret Gunner, Randall Jarrell.

To the Stone-cutters, Robinson Jeffers.

On My First Son, Ben Jonson.

On the Death of Friends in Childhood, Donald Justice.

Ode on a Grecian Urn, John Keats.

On First Looking into Chapman's Homer.

When I Have Fears that I may cease to be, To Autumn, John Keats.

Poetry of Departures, Philip Larkin.

The Bull Calf, Irving Layton.

Animals Are Passing from Our Lives, Philip Levine.

My Father's Martial Art, Stephen Shu-ning Liu.

Skunk Hour, Robert Lowell.

The End of the World, Archibald MacLeish.

To His Coy Mistress, Andrew Marvell.

Recuerdo, Edna St. Vincent Millay.

Methought I saw my Late Espous'd Saint, John Milton.

When I consider how my Light is Spent, John Milton.

The Mind is an Enchanting Thing, Marianne Moore.

Famous, Naomi Shihab Nye.

The One Girl at the Boys' Party, Sharon Olds.

Anthem for Doomed Youth, Wilfred Owen.

Ethics, Linda Pastan.

Con Los Ojos Cerrados, Octavio Paz.

With Our Eyes Shut, Octavio Paz, translated by John Felstiner.

Daddy, Sylvia Plath.

To Helen, Edgar Allan Poe.

A little Learning is a Dang'rous Thing, Alexander Pope.

The River-Merchant's Wife: A Letter, Ezra Pound.

A Different Image, Dudley Randall.

Bells for John Whiteside's Daughter, John Crowe Ransom.

Naming of Parts, Henry Reed.

Peeling Onions, Adrienne Rich.

Power, Adrienne Rich.

Miniver Cheevy, Edward Arlington Robinson.

Elegy for Jane, Theodore Roethke.

Not Marble nor the Gilded Monuments, William Shakespeare.

That time of year thou mayst in me behold, William Shakespeare.

When, in disgrace with Fortune and Men's Eyes, William Shakespeare.

Titanic, David R. Slavitt.

American Primitive, William Jay Smith.

Stamp Collecting, Cathy Song.

At the Klamath Berry Festival, William Stafford.

The Emperor of Ice-Cream, Wallace Stevens.

Ulysses, Alfred, Lord Tennyson.

Fern Hill, Dylan Thomas.

Ex-Basketball Player, John Updike.

Red Rooster, Yellow Sky, Amy Uyematsu.

The Virgins, Derek Walcott.

Go, Lovely Rose, Edmund Waller.

A Noiseless Patient Spider, Walt Whitman.

I Saw in Louisiana a Live-Oak Growing, Walt Whitman.

The Writer, Richard Wilbur.

Spring and All, William Carlos Williams.

To Waken an Old Lady, William Carlos Williams.

At the San Francisco Airport, Yvor Winters.

Composed upon Westminster Bridge, William Wordsworth.

A Blessing, James Wright.

Autumn Begins in Martins Ferry, Ohio, James Wright.

In this Strange Labyrinth, Mary Sidney Wroth.

They flee from me that sometime did me seke, Sir Thomas Wyatt.

Crazy Jane Talks with the Bishop, William Butler Yeats.

The Magi, William Butler Yeats.

When You Are Old, William Butler Yeats.

30. Lives of the Poets.
Drama.

31. Reading a Play.
A Play in its Elements.

Trifles, Susan Glaspell.
Tragedy and Comedy.

Prodigal Son, Garrison Keillor.
Writer's Perspective.
Susan Glaspell on Drama, Creating Trifles.
Writing Critically.
Conflict Resolution.
Student Essay, Outside Trifles.

32. The Theater of Sophocles.

Oedipus the King, Sophocles translated by Dudley Fitts and Robert Fitzgerald.
Aristotle's Concept of Tragedy.
Writer's Perspective.
Aristotle on Drama, Tragedy.
Writing Critically.
Some Things Change. Some Things Don't.

33. The Theater of Shakespeare.

The Tragedy of Othello, Moor of Venice, William Shakespeare.
Writer's Perspective.
W. H. Auden on Drama, Iago as a Triumphant Villain.
Writing Critically.
Breaking the Language Barrier.

34. The Modern Theater.
Realism and Naturalism.

A Doll's House, Henrik Ibsen translated by James McFarlane.
Writer's Perspective.
George Bernard Shaw on Drama, Ibsen and the Familiar Situation.
Tragicomedy and the Absurd.

The Cuban Swimmer, Milcha Sanchez-Scott.
Writer's Perspective.
Milcha Sanchez-Scott on Drama, Writing the Cuban Swimmer.
Writing Critically.
How Realistic is Realism?
Student Essay, Helmer vs. Helmer.

35. Evaluating a Play.
Writing Critically.
Critical Performance.

36. Plays for Further Reading.

The Sound of a Voice, David Henry Hwang.
Writer's Perspective.
David Henry Hwang on Drama, Multicultural Theater.

Death of a Salesman, Arthur Miller.
Writer's Perspective.
Arthur Miller on Drama, Tragedy and the Common Man.

The Glass Menagerie, Tennessee Williams.
Writer's Perspective.
Tennessee Williams on Drama, How to Stage the Glass Menagerie.

Joe Turner's Come and Gone, August Wilson.
Writer's Perspective.

August Wilson On Drama, Black Experience in America.
Writing.

37. Writing about Literature.
Beginning.
Discovering and Planning.
Drafting and Revising.
The Form of Your Finished Paper.
Documenting Your Sources.
Reference Guide for Citations.
Keeping a Journal.

38. Writing about a Story.
Explicating.
Student Essay (Explication).
Analyzing.
Student Essay (Analysis).
Student Card Report.
Comparing and Contrasting.
Suggestions for Writing.

39. Writing about a Poem.
Explicating.

Design, Robert Frost.
Student Essay (Explication).
Analyzing.
Student Essay (Analysis).
Comparing and Contrasting.

Wing-Spread, Abbie Huston Evans.
Student Essay (Comparison and Contrast).
How to Quote a Poem.

In White (early draft of Design), Robert Frost.

40. Writing about a Play.
Methods.
How to Quote a Play.
Reviewing a Play.
Student Drama Review.
Suggestions for Writing.

41. Writing and Researching on the Computer.
Writing And Revising.

Using Spell-Check Programs.
Researching On the World Wide Web.
Two Ways to Start Researching.
Plagiarism.
Literature Online.

42. Critical Approaches to Literature.
Formalist Criticism.

The Formalist Critic, Cleanth Brooks.

Light and Darkness in “Sonny's Blues,” Michael Clark.
Biographical Criticism.

The Relationship of Poet and Poem, Leslie Fiedler.

On Elizabeth Bishop's “One Art,” Brett C. Millier.
Historical Criticism.

Southern Sources of “A Good Man Is Hard to Find,” Sally Fitzgerald.

On Langston Hughes, Darryl Pinckney.
Psychological Criticism.

The Destiny of Oedipus, Sigmund Freud.

The Father-Figure in “The Tell-Tale Heart,” Daniel Hoffman.
Mythological Criticism.

Mythic Archetypes, Northrop Frye.

Lucifer in Shakespeare's Othello, Maud Bodkin.
Sociological Criticism.

Content Determines Form, Georg Lukacs.

Money and Labor in “The Rocking-Horse Winner,” Daniel P. Watkins.
Gender Criticism.

Toward a Feminist Poetics, Elaine Showalter.

The Freedom of Emily Dickinson, Sandra M. Gilbert and Susan Gubar.
Reader-Response Criticism.

An Eskimo “A Rose for Emily,” Stanley Fish.

“How Do We Make a Poem?,” Robert Scholes.
Deconstructionist Criticism.

The Death of the Author, Roland Barthes.
Geoffrey Hartman, On Wordsworth's A Slumber Did My Spirit Seal.
Cultural Studies.

Poststructuralist Cultural Critique, Vincent Leitch.

What is Cultural Studies?, Mark Bauerlein.
Index of Major Themes.
Index of Authors and Titles.
Index of Literary Terms.



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