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

by ;
Edition:
9th
ISBN13:

9780321183309

ISBN10:
0321183304
Format:
Hardcover
Pub. Date:
1/1/2005
Publisher(s):
Longman
List Price: $90.56
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Summary

Literature, 9/e , the most popular introduction of its kind, is organized into three genresFiction, Poetry, and Drama. As in past editions, the authors' collective poetic voice brings personal warmth and a human perspective to the discussion of literature, adding to students' interest in the readings. An introduction to a balance of contemporary and classic stories, poems, and plays. Casebooks offer in-depth look at an author or clusters of works, for example "Latin American Poetry." Authors Joe Kennedy and Dana Gioia provide inviting and illuminating introductions to the authors included and to the elements of literature. Coverage of writing about literature is also included. For those interested in literature.

Table of Contents

Preface xlvii
To the Instructor li
About the Authors lxiii
FICTION 1(696)
1 Reading a Story
3(20)
FABLE, PARABLE, AND TALES
4(8)
W. Somerset Maugham, THE APPOINTMENT IN SAMARRA
4(1)
A servant tries to gallop away from Death in this brief sardonic fable retold in memorable form by a popular storyteller.
Aesop, THE FOX AND THE GRAPES
5(1)
Ever wonder where the phrase "sour grapes" comes from? Find out in this classic fable.
Bidpai, THE CAMEL AND HIS FRIENDS
6(2)
With friends like these, you can guess what the camel doesn't need.
Chuang Tzu, INDEPENDENCE
8(1)
The Prince of Ch'u asks the philosopher Chuang Tzu to become his advisor and gets a surprising reply in this classic Chinese fable.
Jakob and Wilhelm Grimm, GODFATHER DEATH
9(4)
Neither God nor the Devil came to the christening. In this stark folktale, a young man receives magical powers with a string attached.
PLOT
12(1)
THE SHORT STORY
13(7)
John Updike, A & P
15(5)
In walk three girls in nothing but bathing suits, and Sammy finds himself no longer an aproned checkout clerk but an armored knight.
WRITER'S PERSPECTIVE
John Updike on Writing, WHY WRITE?
20(1)
WRITING CRITICALLY
What's the Plot?
21(1)
WRITING ASSIGNMENT
22(1)
FURTHER SUGGESTIONS FOR WRITING
22(1)
2 Point of View
23(68)
William Faulkner, A ROSE FOR EMILY
29(8)
Proud, imperious Emily Grierson defied the town from the fortress of her mansion. Who could have guessed the secret that lay within?
Jhumpa Lahiri, INTERPRETER OF MALADIES
37(16)
Mr. Kapusi's life had settled into a quiet pattern-and then Mrs. Das and her family came into it.
James Baldwin, SONNY'S BLUES
53(24)
Two brothers in Harlem see life differently. The older brother is the sensible family man, hut Sonny wants to be a jazz musician.
Eudora Welty, WHY I LIVE AT THE P.O.
77(10)
Since no one appreciated Sister, she decides to live at the Post Office. After meeting her family, you won't blame her.
WRITER'S PERSPECTIVE
James Baldwin on Writing, RACE AND THE AFRICAN AMERICAN WRITER
87(2)
WRITING CRITICALLY
How Point of View Shapes a Story
89(1)
WRITING ASSIGNMENT
89(1)
FURTHER SUGGESTIONS FOR WRITING
90(1)
3 Character
91(33)
Katherine Anne Porter, THE JILTING OF GRANNY WEATHERALL
94(8)
For sixty years Ellen Weatherall has fought hack the memory of that terrible day, hilt now once more the priest waits in the house.
Alice Walker, EVERYDAY USE
102(7)
When successful Ike visits from the city, she has changed her name. Her mother and sister notice other things have changed, too.
Raymond Carver, CATHEDRAL
109(12)
He had never expected to find himself trying to describe a cathedral to a blind man. He hadn't even wanted to meet this odd, old friend of his wife.
WRITER'S PERSPECTIVE
Raymond Carver on Writing, COMMONPLACE BUT PRECISE LANGUAGE
121(1)
WRITING CRITICALLY
How Character Creates Action
122(1)
WRITING ASSIGNMENT
123(1)
FURTHER SUGGESTIONS FOR WRITING
123(1)
4 Setting
124(46)
Kate Chopin, THE STORM
127(5)
Even with her husband away, Calixta feels happily, securely married. Why then should she not shelter an old admirer from the rain?
Jack London, To BUILD A FIRE
132(11)
Seventy-five degrees below zero. Alone except for one mistrustful wolf dog, a man finds himself battling a relentless force.
T. Coraghessan Boyle, GREASY LAKE
143(9)
Murky and strewn with beer cans, the lake appears a wasteland. On its shore three "dangerous characters" learn a lesson one grim night.
Amy Tan, A PAIR OF TICKETS
152(15)
A young woman flies with her father to China to meet two half sisters she never knew existed.
WRITER'S PERSPECTIVE
Amy Tan on Writing, SETTING THE VOICE
167(1)
WRITING CRITICALLY
How Time and Place Set a Story
168(1)
WRITING ASSIGNMENT
169(1)
FURTHER SUGGESTIONS FOR WRITING
169(1)
5 Tone and Style
170(42)
Ernest Hemingway, A CLEAN, WELL-LIGHTED PLACE
174(4)
All by himself each night, the old man lingers in the bright café. What does he need more than brandy? One other knew.
William Faulkner, BARN BURNING
178(14)
This time when Ab Snopes wields his blazing torch, his son Sarty faces a dilemma: whether to obey or defy the vengeful old man.
IRONY
192(17)
Guy de Maupassant, THE NECKLACE
193(7)
Having no jewels to wear to the ball, a young woman borrows her rich friend's diamond necklace--with disastrous results.
Ha Jin, SABOTEUR
200(9)
When the police unfairly arrest Mr. Chiu, he hopes for justice. After witnessing their brutality, he quietly plans revenge.
WRITER'S PERSPECTIVE
Ernest Hemingway on Writing, THE DIRECT STYLE
209(1)
WRITING CRITICALLY
Be Style-Conscious
210(1)
WRITING ASSIGNMENT
211(1)
FURTHER SUGGESTIONS FOR WRITING
211(1)
6 Theme
212(39)
Stephen Crane, THE OPEN BOAT
215(19)
In a lifeboat circled by sharks, tantalized by glimpses of land, a reporter scrutinizes Fate and learns about comradeship.
Alice Munro, DAY OF THE BUTTERFLY
234(7)
A sixth-grader is surprised by some of her own reactions when one of her classmates becomes seriously ill.
Luke 15: 11-32, THE PARABLE OF THE PRODIGAL SON
241(1)
A father has two sons. One demands his inheritance now and leaves to spend it with ruinous results.
Kurt Vonnegut, Jr., HARRISON BERGERON
242(6)
Are you handsome? Off with your eyebrows! Are you brainy? Let a transmitter sound thought-shattering beeps inside your ear.
WRITER'S PERSPECTIVE
Kurt Vonnegut, Jr. on Writing, THE THEMES OF SCIENCE FICTION
248(1)
WRITING CRITICALLY
Stating the Theme
249(1)
WRITING ASSIGNMENT
250(1)
FURTHER SUGGESTIONS FOR WRITING
250(1)
7 Symbol
251(33)
John Steinbeck, THE CHRYSANTHEMUMS
253(9)
Fenced-in Elisa feels emotionally starved-then her life promises to blossom with the arrival of the scissors-grinding man.
Shirley Jackson, THE LOTTERY
262(7)
Splintered and faded, the sinister black box had worked its annual terror for longer than anyone in town could remember.
Elizabeth Tallent, No ONE'S A MYSTERY
269(3)
A two-page story speaks volumes about an open-hearted girl and her married lover.
Ursula K. Le Guin, THE ONES WHO WALK AWAY FROM OMELAS
272(6)
Omelas is the perfect city. All of its inhabitants are happy. But everyone's prosperity depends on a hidden evil.
WRITER'S PERSPECTIVE
Ursula K. Le Guin on Writing, NOTE ON "THE ONES WHO WALK AWAY FROM OMELAS"
278(1)
WRITING CRITICALLY Recognizing Symbols
279(1)
WRITING ASSIGNMENT
279(1)
STUDENT ESSAY
An Analysis of the Symbolism in Steinbeck's "The Chrysanthemums"
280(3)
FURTHER SUGGESTIONS FOR WRITING
283(1)
8 Evaluating a Story
284(4)
WRITING CRITICALLY
Know What You're Judging
286(1)
WRITING ASSIGNMENT
287(1)
FURTHER SUGGESTIONS FOR WRITING
287(1)
9 Reading Long Stories and Novels
288(93)
Leo Tolstoy, THE DEATH OF IVAN ILYCH
294(42)
The supreme Russian novelist tells how a petty, ambitious judge, near the end of his wasted life, discovers a harrowing truth.
Franz Kafka, THE METAMORPHOSIS
336(35)
"When Gregor Samsa awoke one morning from troubled dreams, he found himself transformed in his bed into a monstrous insect." Kafka's famous opening sentence introduces one of the most chilling stories in world literature.
WRITER'S PERSPECTIVE
Franz Kafka on Writing, DISCUSSING The Metamorphosis
371(2)
WRITING CRITICALLY
Leaving Things Out
373(1)
WRITING ASSIGNMENT-RESEARCH PAPER
373(1)
STUDENT RESEARCH PAPER
Kafka's Greatness
374(6)
FURTHER SUGGESTIONS FOR WRITING
380(1)
10 Two Critical Casebooks: Edgar Allan Poe and Flannery O'Connor
381(1)
EDGAR ALLAN POE
381(1)
STORIES
THE TELL-TALE HEART
382(4)
The smoldering eye at last extinguished, a murderer finds that, despite all his attempts at a cover-up, his victim will be heard.
THE MASQUE OF THE RED DEATH
386(5)
The uninvited guest at Prince Prospero's masquerade ball changes the life of everyone present in this masterpiece of mood and effect.
THE FALL OF THE HOUSE OF USHER
391(14)
A letter from a boyhood friend turns out to be an invitation to a world of horror and doom.
EDGAR ALLAN POE ON EDGAR ALLAN POE
THE TALE AND ITS EFFECT
405(1)
ON IMAGINATION
406(1)
THE PHILOSOPHY OF COMPOSITION
407(1)
CRITICS ON EDGAR ALLAN POE
Daniel Hoffman, THE FATHER-FIGURE IN "THE TELL-TALE HEART"
408(2)
Marie Bonaparte, A PSYCHOANALYTIC READING OF "THE MASQUE OF THE RED DEATH"
410(2)
Charles Baudelaire, ON POE'S GENIUS
412(1)
James Tuttleton, POE'S QUEST FOR SUPERNAL BEAUTY
413(2)
FLANNERY O'CONNOR
415(1)
STORIES
GOOD COUNTRY PEOPLE
416(15)
Joy's mother thought the Bible salesman was a nice young man, but Joy will soon discover otherwise.
A GOOD MAN Is HARD TO FIND
431(12)
Wanted: The Misfit, a cold-blooded killer. An ordinary family vacation leads to horror-and one moment of redeeming grace.
REVELATION
443(16)
Mrs. Turpin thinks herself Jesus' favorite child, until she meets a troubled college girl. Soon violence flares in a doctor's waiting room.
FLANNERY O'CONNOR ON FLANNERY O'CONNOR
EXCERPT FROM "ON HER OWN WORK": THE ELEMENT OF SUSPENSE IN "A GOOD MAN IS HARD TO FIND"
459(3)
ON HER CATHOLIC FAITH
462(1)
EXCERPT FROM "THE GROTESQUE IN SOUTHERN FICTION": THE SERIOUS WRITER AND THE TIRED READER
462(2)
YEARBOOK CARTOONS
464(1)
CRITICS ON FLANNERY O'CONNOR
Robert Brinkmeyer Jr., FLANNERY O'CONNOR AND HER READERS
465(3)
J.O. Tate, A GOOD SOURCE IS NOT SO HARD TO FIND: THE REAL LIFE MISFIT
468(2)
Mary Jane Schenck, DECONSTRUCTING "A GOOD MAN IS HARD TO FIND"
470(2)
Kathleen Feeley, COMIC PERVERSION IN "GOOD COUNTRY PEOPLE"
472(1)
WRITING CRITICALLY
How One Story Illuminates Another
473(1)
WRITING ASSIGNMENT
473(1)
FURTHER SUGGESTIONS FOR WRITING ON EDGAR ALLAN POE
473(1)
FURTHER SUGGESTIONS FOR WRITING ON FLANNERY O'CONNOR
474(1)
11 Stories for Further Reading
475(231)
Chinua Achebe, DEAD MEN'S PATH
475(3)
The new headmaster of the village school was determined to fight superstition, but the villagers did not agree.
Isabel Allende, THE JUDGE'S WIFE
478(7)
Revenge can take many different forms, but few are as strange as the revenge taken in this passionate tale.
Anjana Appachana, THE PROPHECY
485(12)
Seventeen years old and pregnant, Amrita doesn't know what to do, but before she visits the gynecologist, she consults a fortune teller.
Margaret Atwood, HAPPY ENDINGS
497(4)
John and Mary meet. What happens next? This witty experimental story offers five different outcomes.
Ambrose Bierce, AN OCCURRENCE AT OWL CREEK BRIDGE
501(7)
At last, Peyton Farquhar's neck is in the noose. Reality mingles with dream in this classic story of the American Civil War.
Jorge Luis Borges, THE GOSPEL ACCORDING TO MARK
508(5)
A young man from Buenos Aires is trapped by a flood on an isolated ranch. To pass the time he reads the Gospel to a family with unforeseen results.
Willa Cather, PAUL'S CASE
513(15)
Paul's teachers can't understand the boy. Then one day, with stolen cash, he boards a train for New York and the life of his dreams.
John Cheever, THE FIVE-FORTY-EIGHT
528(11)
After their brief affair, Blake fired his secretary. He never expected she would seek revenge.
Anton Chekhov, THE LADY WITH THE PET DOG
539(13)
Lonely and bored at a seaside resort, they had sought a merely casual affair. How could they know it might deepen and trouble their separate marriages?
Kate Chopin, THE STORY OF AN HOUR
552(2)
"There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name."
Sandra Cisneros, THE HOUSE ON MANGO STREET
554(1)
Does where we live tell what we are? A little girl dreams of a new house, but things don't always turn out the way we want them to.
Ralph Ellison, BATTLE ROYAL
555(11)
A young black man is invited to deliver his high school graduation speech to a gathering of a Southern town's leading white citizens. What promises to be an honor turns into a nightmare of violence, humiliation, and painful self-discovery.
Gabriel Garcia Márquez, THE HANDSOMEST DROWNED MAN IN THE WORLD
566(5)
Even in death, a mysterious stranger has a profound effect on all of the people in the village.
Charlotte Perkins Gilman, THE YELLOW WALLPAPER
571(13)
Her husband the doctor prescribed complete rest in the isolated and mysterious country house they rented for the summer. The cure proves worse than the disease in this gothic classic.
Nathaniel Hawthorne, YOUNG GOODMAN BROWN
584(10)
Urged on through deepening woods, a young Puritan sees-or dreams he .. sees-good villagers hasten toward a diabolic rite.
Zora Neale Hurston, SWEAT
594(10)
Delia's hard work paid for her small house. Now her drunken husband Sykes has promised it to another woman.
Kazuo Ishiguro, A FAMILY SUPPER
604(8)
Something very odd lurks beneath the surface of this family supper, and it might prove fatal.
James Joyce, ARABY
612(5)
If only he can find her a token, she might love him in return. As night falls, a Dublin boy hurries to make his dream come true.
Jamaica Kincaid, GIRL
617(2)
"Try to walk like a lady, and not like the slut you are so bent on becoming." An old-fashioned mother tells her daughter how to live.
D.H. Lawrence, THE ROCKING-HORSE WINNER
619(12)
Wild-eyed "as if something were going to explode in him," the boy predicts each winning horse, and gamblers rush to bet a thousand pounds.
Bernard Malamud, ANGEL LEVINE
631(8)
Broke, ill, and desperate, the tailor Manischevitz begs God for help. But when he discovers a black man in his living room who claims to be a Jewish angel, the tailor refuses to believe. A comic classic of how grace and need overcome prejudice.
Katherine Mansfield, MISS BRILL
639(4)
Sundays had long brought joy to solitary Miss Brill, until one fateful day when she happened to share a bench with two lovers in the park.
Bobbie Ann Mason, SHILOH
643(11)
After the accident Leroy could no longer work as a truck driver. He hoped to make a new life with his wife, but she seemed strangely different.
Joyce Carol Oates, WHERE ARE YOU GOING, WHERE HAVE YOU BEEN?
654(13)
Alone in the house, Connie finds herself helpless before the advances of a spellbinding imitation teenager, Arnold Friend.
Tim O'Brien, THE THINGS THEY CARRIED
667(13)
What each soldier carried into the combat zone was largely determined by necessity, but each man's necessities differed.
Frank O'Connor, FIRST CONFESSION
680(7)
A sympathetic Irish priest cross-examines a boy who takes a bread knife to his sister and wants to chop up his grandmother besides.
Tillie Olsen, I STAND HERE IRONING
687(6)
Deserted by her husband, forced to send away her child, a woman remembers how both she and her daughter managed to survive.
Leslie Marmon Silko, THE MAN TO SEND RAIN CLOUDS
693(10)
When old Teofilo dies, his friends give him a tribal burial to ensure that the rains will come for the pueblo. But can they also convince Father Paul to take part in the pagan ceremony?
POETRY 697(1)
12 Reading a Poem
701(598)
William Butler Yeats, THE LAKE ISLE OF INNISFREE
703(3)
LYRIC POETRY
706(2)
D.H. Lawrence, PIANO
706(1)
Adrienne Rich, AUNT JENNIFER'S TIGERS
707(1)
NARRATIVE POETRY
708(3)
Anonymous, SIR PATRICK SPENCE
708(2)
Robert Frost, "OUT, OUT-"
710(1)
DRAMATIC POETRY
711(3)
Robert Browning, MY LAST DUCHESS
712(2)
WRITER'S PERSPECTIVE
Adrienne Rich on Writing, RECALLING "AUNT JENNIFER'S TIGERS"
714(1)
WRITING CRITICALLY
Can a Poem be Paraphrased?
715(1)
William Stafford, ASK ME
715(1)
William Stafford, A PARAPHRASE OF "ASK ME"
716(1)
WRITING ASSIGNMENT
716(1)
13 Listening to a Voice
717(1)
TONE
717(6)
Theodore Roethke, MY PAPA'S WALTZ
718(1)
Countee Cullen, FOR A LADY I KNOW
719(1)
Anne Bradstreet, THE AUTHOR TO HER BOOK
719(1)
Walt Whitman, TO A LOCOMOTIVE IN WINTER
720(1)
Emily Dickinson, I LIKE TO SEE IT LAP THE MILES
721(1)
Benjamin Alire Saenz, TO THE DESERT
722(1)
Weldon Kees, FOR MY DAUGHTER
723(1)
THE PERSON IN THE POEM
723(8)
Natasha Trethewey, WHITE LIES
724(1)
Edwin Arlington Robinson, LUKE HAVERGAL
725(1)
Ted Hughes, HAWK ROOSTING
726(1)
William Wordsworth, I WANDERED LONELY AS A CLOUD
727(1)
Dorothy Wordsworth, JOURNAL ENTRY
728(1)
James Stephens, A GLASS OF BEER
729(1)
Anne Sexton, HER KIND
730(1)
William Carlos Williams, THE RED WHEELBARROW
731(1)
IRONY
731(8)
Robert Creeley, OH NO
732(1)
W.H. Auden, THE UNKNOWN CITIZEN
733(1)
Sharon Olds, RITES OF PASSAGE
734(1)
John Betjeman, IN WESTMINSTER ABBEY
735(1)
Sarah N. Cleghorn, THE GOLF LINKS
736(1)
Josephine Miles, CIVILIAN
737(1)
Connie Bensley, THE COVETOUS CAT
737(1)
Thomas Hardy, THE WORKBOX
738(1)
FOR REVIEW AND FURTHER STUDY
William Blake, THE CHIMNEY SWEEPER
739(1)
Robert McDowell, AT HOME WITH DOLLFACE
740(1)
William Stafford, AT THE UN-NATIONAL MONUMENT ALONG THE CANADIAN BORDER
740(1)
H.L. Hix, I LOVE THE WORLD, AS DOES ANY DANCER
741(1)
Richard Lovelace, TO LUCASTA
741(1)
Wilfred Owen, DULCE ET DECORUM EST
742(1)
WRITER'S PERSPECTIVE
Wilfred Owen on Writing, WAR POETRY
743(1)
WRITING CRITICALLY
Paying Attention to the Obvious
744(1)
WRITING ASSIGNMENT
744(1)
STUDENT ESSAY
Word Choice, Tone, and Point of View in Roethke's "My Papa's Waltz"
745(3)
FURTHER SUGGESTIONS FOR WRITING
748(1)
14 Words
749(1)
LITERAL MEANING: WHAT A POEM SAYS FIRST
749(5)
William Carlos Williams, THIS IS JUST TO SAY
750(1)
Marianne Moore, SILENCE
751(1)
Robert Graves, DOWN, WANTON, DOWN!
752(1)
John Donne, BATTER MY HEART, THREE-PERSONED GOD, FOR YOU
753(1)
THE VALUE OF A DICTIONARY
754(4)
Henry Wadsworth Longfellow, AFTERMATH
755(1)
John Clare, MOUSE'S NEST
756(1)
J.V. Cunningham, FRIEND, ON THIS SCAFFOLD THOMAS MORE LIES DEAD
757(1)
Kelly Cherry, ADVICE TO A FRIEND WHO PAINTS
758(1)
Carl Sandburg, GRASS
758(1)
WORD CHOICE AND WORD ORDER
758(9)
Robert Herrick, UPON JULIA'S CLOTHES
761(2)
Kay Ryan, BLANDEUR
763(1)
Thomas Hardy, THE RUINED MAID
764(1)
Richard Eberhart, THE FURY OF AERIAL BOMBARDMENT
765(1)
Wendy Cope, LONELY HEARTS
766(1)
FOR REVIEW AND FURTHER STUDY
E.E. Cummings, ANYONE LIVED IN A PRETTY HOW TOWN
767(1)
Billy Collins, THE NAMES
768(2)
Anonymous, CARNATION MILK
770(1)
William Wordsworth, MY HEART LEAPS UP WHEN I BEHOLD
770(1)
William Wordsworth, MUTABILITY
770(1)
Anonymous, SCOTTSBORO
771(1)
Lewis Carroll, JABBERWOCKY
771(2)
WRITER'S PERSPECTIVE
Lewis Carroll on Writing, HUMPTY DUMPTY EXPLICATES "JABBERWOCKY"
773(1)
WRITING CRITICALLY
How Much Difference Does a Word Make?
774(1)
WRITING ASSIGNMENT
775(1)
FURTHER SUGGESTIONS FOR WRITING
775(1)
15 Saying and Suggesting
776(11)
John Masefield, CARGOES
777(1)
William Blake, LONDON
778(2)
Wallace Stevens, DISILLUSIONMENT OF TEN O'CLOCK
780(1)
Gwendolyn Brooks, THE INDEPENDENT MAN
781(1)
Titothy Steele, EPITAPH
781(1)
Geoffrey Hill, MERLIN
782(1)
Walter de la Mare, THE LISTENERS
782(2)
Robert Frost, FIRE AND ICE
784(1)
Clare Rossini, FINAL LOVE NOTE
784(1)
Alfred, Lord Tennyson, TEARS, IDLE TEARS
785(1)
Richard Wilbur, LOVE CALLS US TO THE THINGS OF THIS WORLD
786(1)
WRITER'S PERSPECTIVE
Richard Wilbur on Writing, CONCERNING "LOVE CALLS US TO THE THINGS OF THIS WORLD"
787(1)
WRITING CRITICALLY
The Ways a Poem Suggests
788(1)
WRITING ASSIGNMENT
789(1)
FURTHER SUGGESTIONS FOR WRITING
789(1)
16 Imagery
790(8)
Ezra Pound, IN A STATION OF THE METRO
790(1)
Taniguchi Buson, THE PIERCING CHILL I FEEL
790(2)
T.S. Eliot, THE WINTER EVENING SETTLES DOWN
792(1)
Theodore Roethke, ROOT CELLAR
792(1)
Elizabeth Bishop, THE FISH
793(2)
Anne Stevenson, THE VICTORY
795(1)
Charles Simic, FORK
796(1)
Emily Dickinson, A ROUTE OF EVANESCENCE
796(1)
Jean Toomer, REAPERS
797(1)
Gerard Manley Hopkins, PIED BEAUTY
797(1)
ABOUT HAIKU
798(3)
Arakida Moritake, THE FALLING FLOWER
798(1)
Matsuo Basho, HEAT-LIGHTNING STREAK
799(1)
Matsuo Basho, IN THE OLD STONE POOL
799(1)
Taniguchi Buson, ON THE ONE-TON TEMPLE BELL
799(1)
Taniguchi Buson, I GO
799(1)
Kobayashi Issa, ONLY ONE GUY
799(1)
Kobayashi Issa, CRICKET
799(1)
Suiko Matsushita, RAIN SHOWER FROM MOUNTAIN
800(1)
Suiko Matsushita, Cosmos IN BLOOM
800(1)
Neiji Ozawa, WAR FORCED US FROM CALIFORNIA
800(1)
Neiji Ozawa, THE WAR
800(1)
Hakuro Wada, EVEN THE CROAKING OF FROGS
800(1)
Etheridge Knight, Lee Gurga, Penny Harter, Jennifer Brutschy, John Ridland, Connie Bensley, Adelle Foley, A SELECTION OF HAIKU
800(1)
FOR REVIEW AND FURTHER STUDY
John Keats, BRIGHT STAR! WOULD I WERE STEADFAST AS THOU ART
801(1)
Walt Whitman, THE RUNNER
802(1)
T.E. Hulme, IMAGE
802(1)
Chana Bloch, TIRED SEX
802(1)
Robert Bly, DRIVING TO TOWN LATE TO MAIL A LETTER
803(1)
Gary Snyder, PIUTE CREEK
803(1)
H.D., HEAT
804(1)
Louise Gluck, MOCK ORANGE
804(1)
Billy Collins, EMBRACE
805(1)
John Haines, WINTER NEWS
805(1)
Stevie Smith, NOT WAVING BUT DROWNING
806(1)
WRITER'S PERSPECTIVE
Ezra Pound on Writing, THE IMAGE
807(1)
WRITING CRITICALLY
Analyzing Images
808(1)
WRITING ASSIGNMENT
809(1)
STUDENT ESSAY
Elizabeth Bishop's Use of Imagery in "The Fish"
809(4)
FURTHER SUGGESTIONS FOR WRITING
813(1)
17 Figures of Speech
814(1)
WHY SPEAK FIGURATIVELY?
814(3)
Alfred, Lord Tennyson, THE EAGLE
815(1)
William Shakespeare, SHALL I COMPARE THEE TO A SUMMER'S DAY?
815(1)
Howard Moss, SHALL I COMPARE THEE TO A SUMMER'S DAY?
816(1)
METAPHOR AND SIMILE
817(7)
Emily Dickinson, MY LIFE HAD STOOD - A LOADED GUN
818(1)
Alfred, Lord Tennyson, FLOWER IN THE CRANNIED WALL
819(1)
William Blake, To SEE A WORLD IN A GRAIN OF SAND
820(1)
Sylvia Plath, METAPHORS
820(1)
N. Scott Momaday, SIMILE
820(1)
Emily Dickinson, IT DROPPED SO LOW - IN MY REGARD
821(1)
Craig Raine, A MARTIAN SENDS A POSTCARD HOME
821(3)
OTHER FIGURES
824(10)
James Stephens, THE WIND
825(2)
Chidiock Tichborne, ELEGY, WRITTEN WITH HIS OWN HAND IN THE TOWER BEFORE HIS EXECUTION
827(1)
Margaret Atwood, YOU FIT INTO ME
828(1)
John Ashbery, THE CATHEDRAL IS
828(1)
George Herbert, THE PULLEY
828(1)
Louis MacNeice, PLAIN SPEAKING
829(1)
FOR REVIEW AND FURTHER STUDY
Robert Frost, THE SILKEN TENT
830(1)
Denise Levertov, LEAVING FOREVER
831(1)
Jane Kenyon, THE SUITOR
831(1)
Robert Frost, THE SECRET SITS
832(1)
H.D., LOVE THAT I BEAR
832(1)
A.R. Ammons, COWARD
832(1)
Kay Ryan, TURTLE
832(1)
Robinson Jeffers, HANDS
833(1)
Robert Burns, OH, MY LOVE IS LIKE A RED, RED ROSE
833(1)
WRITER'S PERSPECTIVE
Robert Frost on Writing, THE IMPORTANCE OF POETIC METAPHOR
834(1)
WRITING CRITICALLY
How Metaphors Enlarge a Poem's Meaning
835(1)
WRITING ASSIGNMENT
836(1)
FURTHER SUGGESTIONS FOR WRITING
836(1)
18 Song
837(1)
SINGING AND SAYING
837(7)
Ben Jonson, To CELIA
838(1)
Anonymous, THE CRUEL MOTHER
839(2)
William Shakespeare, TAKE, O, TAKE THOSE LIPS AWAY
841(1)
Edwin Arlington Robinson, RICHARD CORY
842(1)
Paul Simon, RICHARD CORY
843(1)
BALLADS
844(4)
Anonymous, BONNY BARBARA ALLAN
844(3)
Dudley Randall, BALLAD OF BIRMINGHAM
847(1)
BLUES
848(2)
Bessie Smith with Clarence Williams, JAILHOUSE BLUES
849(1)
W.H. Auden, FUNERAL BLUES
850(1)
RAP
850(3)
Run D.M.C., from PETER PIPER
852(1)
FOR REVIEW AND FURTHER STUDY
John Lennon and Paul McCartney, ELEANOR RIGBY
853(1)
Bob Dylan, THE TIMES THEY ARE A-CHANGIN'
854(2)
Gwendolyn Brooks, QUEEN OF THE BLUES
856(2)
WRITER'S PERSPECTIVE
Paul McCartney on Writing, CREATING "ELEANOR RIGBY"
858(1)
WRITING CRITICALLY
Is There a Difference Between Poetry and Song?
859(1)
WRITING ASSIGNMENT
860(1)
FURTHER SUGGESTIONS FOR WRITING
860(1)
19 Sound
861(1)
SOUND AS MEANING
861(5)
Alexander Pope, TRUE EASE IN WRITING COMES FROM ART, NOT CHANCE
862(2)
William Butler Yeats, WHO GOES WITH FERGUS?
864(1)
John Updike, RECITAL
865(1)
William Wordsworth, A SLUMBER DID MY SPIRIT SEAL
865(1)
Emanuel di Pasquale, RAIN
866(1)
Aphra Behn, WHEN MAIDENS ARE YOUNG
866(1)
ALLITERATION AND ASSONANCE
866(3)
A.E. Housman, EIGHT O'CLOCK
868(1)
Robert Herrick, UPON JULIA'S VOICE
868(1)
Alfred, Lord Tennyson, THE SPLENDOR FALLS ON CASTLE WALLS
869(1)
RIME
869(8)
William Cole, ON MY BOAT ON LAKE CAYUGA
870(2)
James Reeves, ROUGH WEATHER
872(1)
Hilaire Belloc, THE HIPPOPOTAMUS
873(1)
William Butler Yeats, LEDA AND THE SWAN
874(1)
Gerard Manley Hopkins, GOD'S GRANDEUR
875(1)
Fred Chappell, NARCISSUS AND ECHO
875(1)
Robert Frost, DESERT PLACES
876(1)
READING AND HEARING POEMS ALOUD
877(4)
Michael Stillman, IN MEMORIAM JOHN COLTRANE
879(1)
William Shakespeare, FULL FATHOM FIVE THY FATHER LIES
879(1)
Chryss Yost, LAI WITH SOUNDS OF SKIN
880(1)
T.S. Eliot, VIRGINIA
880(1)
WRITER'S PERSPECTIVE
T.S. Eliot on Writing, THE MUSIC OF POETRY
881(1)
WRITING CRITICALLY
Is it Possible to Write About Sound?
882(1)
WRITING ASSIGNMENT
882(1)
FURTHER SUGGESTIONS FOR WRITING
882(2)
20 Rhythm
884(1)
STRESSES AND PAUSES
884(8)
Gwendolyn Brooks, WE REAL COOL
889(1)
Alfred, Lord Tennyson, BREAK, BREAK, BREAK
889(1)
Ben Jonson, SLOW, SLOW, FRESH FOUNT, KEEP TIME WITH MY SALT TEARS
890(1)
Alexander Pope, ATTICUS
891(1)
Sir Thomas Wyatt, WITH SERVING STILL
892(1)
Dorothy Parker, RESUME
892(1)
METER
892(13)
Max Beerbohm, ON THE IMPRINT OF THE FIRST ENGLISH EDITION OF THE WORKS OF MAX BEERBOHM
893(6)
Thomas Campion, ROSE-CHEEKED LAURA, COME
899(1)
Vachel Lindsay, FACTORY WINDOWS ARE ALWAYS BROKEN
900(1)
Edna St. Vincent Millay, COUNTING-OUT RHYME
901(1)
A.E. Housman, WHEN I WAS ONE-AND-TWENTY
902(1)
William Carlos Williams, HEEL & TOE TO THE END
902(1)
Walt Whitman, BEAT! BEAT! DRUMS!
903(1)
David Mason, SONG OF THE POWERS
904(1)
Langston Hughes, DREAM BOOGIE
904(1)
WRITER'S PERSPECTIVE
Gwendolyn Brooks on Writing, HEARING "WE REAL COOL"
905(1)
WRITING CRITICALLY
Freeze-Framing the Sound
906(1)
WRITING ASSIGNMENT
907(1)
FURTHER SUGGESTIONS FOR WRITING
907(1)
21 Closed Form
908(1)
FORMAL PATTERNS
909(8)
John Keats, THIS LIVING HAND, NOW WARM AND CAPABLE
910(2)
Robert Graves, COUNTING THE BEATS
912(1)
John Donne, SONG ("GO AND CATCH A FALLING STAR")
913(1)
Phillis Levin, BRIEF BIO
914(1)
Ronald Gross, YIELD
915(2)
THE SONNET
917(6)
William Shakespeare, LET ME NOT TO THE MARRIAGE OF TRUE MINDS
917(1)
Michael Drayton, SINCE THERE'S NO HELP, COME LET US KISS AND PART
918(1)
Edna St. Vincent Millay, WHAT LIPS MY LIPS HAVE KISSED, AND WHERE, AND WHY
919(1)
Robert Frost, ACQUAINTED WITH THE NIGHT
919(1)
Kim Addonizio, FIRST POEM FOR YOU
920(1)
Mark Jarman, UNHOLY SONNET: AFTER THE PRAYING
920(1)
R.S. Gwynn, SCENES FROM THE PLAYROOM
921(1)
Timothy Steele, SUMMER
922(1)
A.E. Stallings, SINE QUA NON
922(1)
THE EPIGRAM
923(3)
W.H. Auden, Edmund Clerihew Bentley, Cornelius J. Ter Maat, CLERIHEWS
925(1)
OTHER FORMS
926(4)
Robert Pinsky, ABC
926(1)
Dylan Thomas, Do NOT GO GENTLE INTO THAT GOOD NIGHT
927(1)
Robert Bridges, TRIOLET
927(1)
Elizabeth Bishop, SESTINA
928(2)
WRITER'S PERSPECTIVE
Robert Graves on Writing, POETIC INSPIRATION AND POETIC FORM
930(1)
WRITING CRITICALLY
Turning Points
931(1)
WRITING ASSIGNMENT
932(1)
FURTHER SUGGESTIONS FOR WRITING
932(1)
22 Open Form
933(11)
Denise Levertov, ANCIENT STAIRWAY
933(5)
E.E. Cummings, BUFFALO BILL'S
938(1)
W.S. Merwin, FOR THE ANNIVERSARY OF MY DEATH
938(1)
William Carlos Williams, THE DANCE
939(1)
Stephen Crane, THE HEART
940(1)
Walt Whitman, CAVALRY CROSSING A FORD
940(1)
Ezra Pound, THE GARRET
941(1)
Wallace Stevens, THIRTEEN WAYS OF LOOKING AT A BLACKBIRD
941(3)
Carolyn Forche, THE COLONEL
944(1)
VISUAL POETRY
944(5)
George Herbert, EASTER WINGS
945(1)
John Hollander, SWAN AND SHADOW
946(1)
Terry Ehret, from PAPYRUS
947(1)
Dorthi Charles, CONCRETE CAT
948(1)
SEEING THE LOGIC OF OPEN FORM VERSE
949(3)
E.E. Cummings, IN JUST-
949(1)
Lucille Clifton, HOMAGE TO MY HIPS
950(1)
Carole Satyamurti, I SHALL PAINT MY NAILS RED
951(1)
Alice Fulton, WHAT I LIKE
951(1)
WRITER'S PERSPECTIVE
Walt Whitman on Writing, THE POETRY OF THE FUTURE
952(1)
WRITING CRITICALLY
Lining Up for Free Verse
953(1)
WRITING ASSIGNMENT
953(1)
FURTHER SUGGESTIONS FOR WRITING
954(1)
23 Symbol
955(10)
T.S. Eliot, THE BOSTON EVENING TRANSCRIPT
956(1)
Emily Dickinson, THE LIGHTNING IS A YELLOW FORK
957(2)
Thomas Hardy, NEUTRAL TONES
959(1)
Matthew 13: 24-30, THE PARABLE OF THE GOOD SEED
960(1)
George Herbert, THE WORLD
960(1)
John Ciardi, MOST LIKE AN ARCH THIS MARRIAGE
961(1)
Robert Frost, THE ROAD NOT TAKEN
962(1)
Christina Rossetti, UPHILL
963(1)
Gjertrud Schnackenberg, SUPERNATURAL LOVE
963(2)
FOR REVIEW AND FURTHER STUDY
Robinson Jeffers, THE BEAKS OF EAGLES
965(1)
Sara Teasdale, THE FLIGHT
966(1)
William Carlos Williams, THE TERM
967(1)
Ted Kooser, CARRIE
968(1)
Rafael Campo, WHAT THE BODY TOLD
968(1)
Jon Stallworthy, AN EVENING WALK
969(1)
Lorine Niedecker, POPCORN-CAN COVER
970(1)
Wallace Stevens, ANECDOTE OF THE JAR
970(1)
WRITER'S PERSPECTIVE
William Butler Yeats On Writing, POETIC SYMBOLS
971(1)
WRITING CRITICALLY
How to Read a Symbol
972(1)
WRITING ASSIGNMENT
972(1)
FURTHER SUGGESTIONS FOR WRITING
973(1)
24 Myth and Narrative
974(5)
Robert Frost, NOTHING GOLD CAN STAY
976(1)
D.H. Lawrence, BAVARIAN GENTIANS
977(1)
Thomas Hardy, THE OXEN
977(1)
William Wordsworth, THE WORLD IS TOO MUCH WITH US
978(1)
H.D., HELEN
979(1)
ARCHETYPE
979(2)
Louise Bogan, MEDUSA
980(1)
PERSONAL MYTH
981(6)
William Butler Yeats, THE SECOND COMING
982(1)
Jonathan Holden, THE NAMES OF THE RAPIDS
983(1)
James Dickey, THE HEAVEN OF ANIMALS
984(1)
Diane Thiel, MEMENTO MORI IN MIDDLE SCHOOL
985(2)
MYTH AND POPULAR CULTURE
987(7)
Charles Martin, TAKEN UP
988(1)
A.D. Hope, IMPERIAL ADAM
989(1)
Anne Sexton, CINDERELLA
990(4)
WRITER'S PERSPECTIVE
Anne Sexton on Writing, TRANSFORMING FAIRY TALES
994(1)
WRITING CRITICALLY
Demystifying Myth
995(1)
WRITING ASSIGNMENT
996(1)
STUDENT ESSAY
The Bonds Between Love and Hatred In H.D.'s "Helen"
997(4)
FURTHER SUGGESTIONS FOR WRITING
1001(1)
25 Poetry and Personal Identity
1002(5)
Sylvia Plath, LADY LAZARUS
1003(3)
Julia Alvarez, THE WOMEN ON MY MOTHER'S SIDE WERE KNOWN
1006(1)
CULTURE, RACE, AND ETHNICITY
1007(6)
Claude McKay, AMERICA
1007(1)
Rhina Espaillat, BILINGUAL/BILINGUE
1008(2)
Samuel Menashe, THE SHRINE WHOSE SHAPE I AM
1010(1)
Francisco X. Alarcon, THE X IN MY NAME
1010(1)
Wendy Rose, FOR THE WHITE POETS WHO WOULD BE INDIAN
1011(1)
Sherman Alexie, INDIAN BOY LOVE SONG (#1)
1012(1)
Yusef Komunyakaa, FACING IT
1012(1)
GENDER
1013(3)
Anne Stevenson, SOUS-ENTENDU
1014(1)
Emily Grosholz, LISTENING
1014(1)
Donald Justice, MEN AT FORTY
1015(1)
Adrienne Rich, WOMEN
1016(1)
FOR REVIEW AND FURTHER STUDY
Shirley Geok-Lin Lim, LEARNING TO LOVE AMERICA
1016(1)
Andrew Hudgins, ELEGY FOR MY FATHER, WHO IS NOT DEAD
1017(1)
Judith Ortiz Cofer, QUINCEANERA
1018(1)
Alastair Reid, SPEAKING A FOREIGN LANGUAGE
1019(1)
Philip Larkin, AUBADE
1019(2)
WRITER'S PERSPECTIVE
Rhina Espaillat, BEING A BILINGUAL WRITER
1021(1)
WRITING CRITICALLY
Poetic Voice and Personal Identity
1022(1)
WRITING ASSIGNMENT
1023(1)
FURTHER SUGGESTIONS FOR WRITING
1023(1)
26 Translation
1024(1)
IS POETIC TRANSLATION POSSIBLE?
1024(1)
Rainer Maria Rilke, EINGANG
1025(1)
Rainer Maria Rilke, translated by Dana Gioia, ENTRANCE
1025(1)
WORLD POETRY
1025(7)
Li PO, DRINKING ALONE BENEATH THE MOON (CHINESE TEXT)
1026(1)
Li PO, YUEH HSIA TU CHO, MOON-BENEATH ALONE DRINK (LITERAL TRANSLATION)
1027(1)
Li Po, translated by Arthur Waley, DRINKING ALONE BY MOONLIGHT
1027(1)
Horace, ODES I (11) (Carpe Diem)
1028
Horace, translated by Edwin Arlington Robinson, James Michie, A.E. Stallings, ODES I
1027(4)
Omar Khayyam, RUBAI
1031(1)
Omar Khayyam, translated by Edward FitzGerald, Robert Graves and Omar Ali-Shah, Dick Davis, RUBAI
1031(1)
PARODY
1032(6)
Anonymous, WE FOUR LADS FROM LIVERPOOL ARE
1033(1)
Wendy Cope, A NURSERY RHYME (AS IT MIGHT HAVE BEEN WRITTEN BY WILLIAM WORDSWORTH)
1034(1)
Hugh Kingsmill, WHAT, STILL ALIVE AT TWENTY-TWO?
1034(1)
Bruce Bennett, THE LADY SPEAKS AGAIN
1035(1)
Gene Fehler, IF RICHARD LOVELACE BECAME A FREE AGENT
1035(1)
Aaron Abeyta, THIRTEEN WAYS OF LOOKING AT A TORTILLA
1036(2)
WRITER'S PERSPECTIVE
Arthur Waley on Writing, THE METHOD OF TRANSLATION
1038(1)
WRITING CRITICALLY
Parody Is the Sincerest Form of Flattery
1039(1)
WRITING ASSIGNMENT
1039(1)
FURTHER SUGGESTIONS FOR WRITING
1040(1)
27 Critical Casebook: Latin American Poetry
1041(2)
SOR JUANA
1043(2)
ASEGURA LA CONFIANZA DE QUE OCULTURÁ DE TODO UN SECRETO
1044(1)
Translated by Diane Thiel, SHE PROMISES TO HOLD A SECRET IN CONFIDENCE
1044(1)
PRESENTE EN QUE EL CARIÑO HACE REGALO LA LLANEZA
1044(1)
Translated by Diane Thiel, A SIMPLE GIFT MADE RICH BY AFFECTION
1044(1)
PABLO NERUDA
1045(4)
MUCHOS SOMOS
1046(1)
Translated by Alastair Reid, WE ARE MANY
1046(1)
CIEN SONETOS DE AMOR (V)
1047(2)
Translated by Stephen Tapscott, ONE HUNDRED LOVE SONNETS (V)
1048(1)
JORGE LUIS BORGES
1049(3)
AMOROSA ANTICIPACIÓN
1050(1)
Translated by Robert Fitzgerald, ANTICIPATIÓN OF LOVE
1050(1)
LOS ENIGMAS
1051(1)
Translated by John Updike, THE ENIGMAS
1051(1)
OCTAVIO PAZ
1052(1)
CON LOS Ojos CERRADOS
1053(1)
Translated by John Felstiner, WITH OUR EYES SHUT
1053(1)
CERTEZA
1053(1)
Translated by Charles Tomlinson, CERTAINTY
1053(1)
SURREALISM IN LATIN AMERICAN POETRY
1053(5)
Frida Kahlo, THE TWO FRIDAS
1055(1)
Cesar Vallejo, LA CÓLERA QUE QUIEBRA AL HOMBRE EN NIÑOS
1055(1)
Cesar Vallejo, Translated by Thomas Merton, ANGER
1056(1)
Olga Orozco, LA REALIDAD Y EL DESEO
1056(1)
Olga Orozco, Translated by Stephen Tapscott, REALITY AND DESIRE
1057(1)
POEMS FOR FURTHER READING
Alfonsina Storni, PESO ANCESTRAL
1058(1)
Alfonsina Stoni, Translated by Diane Thiel, ANCESTRAL BURDEN
1058(1)
José Emilio Pacheco, ALTA TRAICI6N
1058(1)
José Emilio Pacheco, Translated by Alastair Reid, HIGH TREASON
1059(1)
LATIN AMERICAN POETS ON POETRY
Sor Juana, REPLY TO SOR PHILOTHEA
1059(1)
Pablo Neruda, TOWARDS THE SPLENDID CITY
1060(1)
Jorge Luis Borges, THE RIDDLE OF POETRY
1061(1)
Octavio Paz, IN SEARCH OF THE PRESENT
1062(1)
CRITICS ON LATIN AMERICAN POETRY
Stephanie Merrim, ENDGAMES: SOR JUANA INES DE LA CRUZ
1062(1)
Alastair Reid, TRANSLATING NERUDA
1063(1)
Emir Rodriguez Monegal, BORGES AND PAZ
1064(1)
SUGGESTIONS FOR WRITING
1065(1)
28 Recognizing Excellence
1066(2)
Anonymous, O MOON, WHEN I GAZE ON THY BEAUTIFUL FACE
1068(1)
Grace Treasone, LIFE
1068(1)
Emily Dickinson, A DYING TIGER-MOANED FOR DRINK
1069(3)
Rod McKuen, THOUGHTS ON CAPITAL PUNISHMENT
1072(1)
William Stafford, TRAVELING THROUGH THE DARK
1072(1)
Wallace McRae, REINCARNATION
1073(2)
RECOGNIZING EXCELLENCE
1075(14)
William Butler Yeats, SAILING TO BYZANTIUM
1075(3)
Arthur Guiterman, ON THE VANITY OF EARTHLY GREATNESS
1078(1)
Percy Bysshe Shelley, OZYMANDIAS
1078(1)
Robert Hayden, THE WHIPPING
1079(1)
Elizabeth Bishop, ONE ART
1080(1)
W.H. Auden, SEPTEMBER 1, 1939
1081(3)
Walt Whitman, O CAPTAIN! MY CAPTAIN!
1084(2)
Carl Sandburg, FOG
1086(1)
Emma Lazarus, THE NEW COLOSSUS
1087(1)
Edgar Allan Poe, ANNABEL LEE
1088(1)
WRITER'S PERSPECTIVE
Edgar Allan Poe on Writing, A LONG POEM DOES NOT EXIST
1089(1)
WRITING CRITICALLY
How to Begin Evaluating a Poem
1089(1)
WRITING ASSIGNMENT
1090(1)
FURTHER SUGGESTIONS FOR WRITING
1091(1)
29 What Is Poetry?
1092(5)
Archibald MacLeish, ARS POETICA
1092(1)
Dante, Samuel Johnson, Samuel Taylor Coleridge, William Wordsworth, Thomas Carlyle, Thomas Hardy, Emily Dickinson, Gerard Manley Hopkins, Robert Frost, Wallace Stevens, Mina Loy, T.S. Eliot, W.H. Auden, J.V. Cunningham, Elizabeth Bishop, Jorge Luis Borges, Octavio Paz, William Stafford, Gwendolyn Brooks, Robert Bly, SOME DEFINITIONS OF POETRY
1093(3)
Ha Jin, MISSED TIME
1096(1)
30 Two Critical Casebooks: Emily Dickinson and Langston Hughes
1097(1)
EMILY DICKINSON
1097(1)
POEMS
SUCCESS IS COUNTED SWEETEST
1098(1)
WILD NIGHTS - WILD NIGHTS!
1098(1)
THERE'S A CERTAIN SLANT OF LIGHT
1099(1)
I FELT A FUNERAL, IN MY BRAIN
1099(1)
I'M NOBODY! WHO ARE YOU?
1100(1)
THE SOUL SELECTS HER OWN SOCIETY
1100(1)
SOME KEEP THE SABBATH GOING TO CHURCH
1101(1)
AFTER GREAT PAIN, A FORMAL FEELING COMES
1101(1)
MUCH MADNESS IS DIVINEST SENSE
1101(1)
THIS IS MY LETTER TO THE WORLD
1102(1)
I HEARD A FLY BUZZ - WHEN I DIED
1102(1)
I STARTED EARLY - TOOK MY DOG
1102(1)
BECAUSE I COULD NOT STOP FOR DEATH
1103(1)
THE BUSTLE IN A HOUSE
1104(1)
TELL ALL THE TRUTH BUT TELL IT SLANT
1104(1)
EMILY DICKINSON ON EMILY DICKINSON
RECOGNIZING POETRY
1105(1)
SELF-DESCRIPTION
1106(2)
CRITICS ON EMILY DICKINSON
Thomas Wentworth Higginson, MEETING EMILY DICKINSON
1108(1)
Thomas H. Johnson, THE DISCOVERY OF EMILY DICKINSON'S MANUSCRIPTS
1109
Richard Wilbur, THE THREE PRIVATIONS OF EMILY DICKINSON
111(1001)
Cynthia Griffin Wolff, DICKINSON AND DEATH (A READING OF "BECAUSE I COULD NOT STOP FOR DEATH")
1112(2)
Judith Farr, A READING OF "MY LIFE HAD STOOD - A LOADED GUN"
1114(2)
LANGSTON HUGHES
1116(1)
POEMS
THE NEGRO SPEAKS OF RIVERS
1117(1)
MOTHER TO SON
1117(1)
DREAM VARIATIONS
1118(1)
I, TOO
1118(1)
THE WEARY BLUES
1119(1)
SONG FORA DARK GIRL
1120(1)
DESIRE
1120(1)
PRAYER
1120(1)
BATTLE OF THE LANDLORD
1121(1)
END
1122(1)
ISLAND
1122(1)
THEME FOR ENGLISH B
1122(1)
SUBWAY RUSH HOUR
1123(1)
SLIVER
1124(1)
HARLEM [DREAM DEFERRED]
1124(1)
LANGSTON HUGHES ON LANGSTON HUGHES
THE NEGRO ARTIST AND THE RACIAL MOUNTAIN
1125(1)
THE HARLEM RENAISSANCE
1126(2)
CRITICS ON LANGSTON HUGHES
Arnold Rampersad, HUGHES AS AN EXPERIMENTALIST
1128(1)
Rita Dove and Marilyn Nelson, LANGSTON HUGHES AND HARLEM
1129(2)
Darryl Pinckney, BLACK IDENTITY IN LANGSTON HUGHES
1131(1)
Peter Townsend, LANGSTON HUGHES AND JAZZ
1132(2)
Onwuchekwa Jemie, A READING OF "DREAM DEFERRED"
1134(2)
FOR FURTHER READING
1136(1)
SUGGESTIONS FOR WRITING
1136(1)
31 Poems for Further Reading
1137(168)
Anonymous, LORD RANDALL
1138(1)
Anonymous, THE THREE RAVENS
1139(1)
Anonymous, THE TWA CORBIES
1140(1)
Anonymous, WESTERN WIND
1141(1)
Anonymous, LAST WORDS OF THE PROPHET
1141(1)
Matthew Arnold, DOVER BEACH
1141(1)
John Ashbery, AT NORTH FARM
1142(1)
Margaret Atwood, ROMANTIC
1143(1)
W.H. Auden, AS I WALKED OUT ONE EVENING
1144(2)
W.H. Auden, MUSEE DES BEAUX ARTS
1146(1)
Elizabeth Bishop, FILLING STATION
1147(2)
William Blake, THE TYGER
1149(1)
William Blake, THE SICK ROSE
1150(1)
Eavan Boland, ANOREXIC
1151(1)
Gwendolyn Brooks, THE MOTHER
1152(1)
Gwendolyn Brooks, THE PREACHER RUMINATES: BEHIND THE SERMON
1153(1)
Elizabeth Barrett Browning, HOS DO I LOVE THEE? LET ME COUNT THE WAYS
1154(1)
Robert Browning, SOLILOQUY OF THE SPANISH CLOISTER
1154(2)
Geoffrey Chaucer, MERCILESS BEAUTY
1156(1)
G.K. Chesterton, THE DONKEY
1157(1)
Samuel Taylor Coleridge, KUBLA KHAN
1158(1)
Billy Collins, CARE AND FEEDING
1159(1)
Hart Crane, MY GRANDMOTHER'S LOVE LETTERS
1160(1)
E.E. Cummings, SOMEWHERE I HAVE NEVER TRAVELLED, GLADLY BEYOND
1161(1)
John Donne, DEATH BE NOT PROUD
1162(1)
John Donne, THE FLEA
1163(1)
John Donne, A VALEDICTION: FORBIDDING MOURNING
1164(1)
Rita Dove, SUMMIT BEACH, 1921
1165(1)
John Dryden, TO THE MEMORY OF MR. OLDHAM
1166(1)
T.S. Eliot, JOURNEY OF THE MAGI
1167(2)
T.S. Eliot, THE LOVE SONG OF J. ALFRED PRUFROCK
1169(4)
Louise Erdrich, INDIAN BOARDING SCHOOL: THE RUNAWAYS
1173(1)
B.H. Fairchild, A STARLIT NIGHT
1174(1)
Robert Frost, BIRCHES
1175(1)
Robert Frost, MENDING WALL
1176(1)
Robert Frost, STOPPING BY WOODS ON A SNOWY EVENING
1177(1)
Allen Ginsberg, A SUPERMARKET IN CALIFORNIA
1178(1)
Dana Gioia, CALIFORNIA HILLS IN AUGUST
1179(1)
Thom Gunn, THE MAN WITH NIGHT SWEATS
1180(1)
Donald Hall, NAMES OF HORSES
1181(1)
Thomas Hardy, THE CONVERGENCE OF THE TWAIN
1182(1)
Thomas Hardy, THE DARKLING THRUSH
1183(1)
Thomas Hardy, HAP
1184(1)
Robert Hayden, THOSE WINTER SUNDAYS
1185(1)
Seamus Heaney, DIGGING
1186(1)
Seamus Heaney, MOTHER OF THE GROOM
1187(1)
Anthony Hecht, ADAM
1188(2)
George Herbert, LOVE
1190(1)
Robert Herrick, TO THE VIRGINS, TO MAKE MUCH OF TIME
1191(1)
Gerard Manley Hopkins, SPRING AND FALL
1191(1)
Gerard Manley Hopkins, NO WORST, THERE IS NONE
1192(1)
Gerard Manley Hopkins, THE WINDHOVER
1193(1)
A.E. Housman, LOVELIEST OF TREES, THE CHERRY NOW
1193(1)
A.E. Housman, TO AN ATHLETE DYING YOUNG
1194(1)
Randall Jarrell, THE DEATH OF THE BALL TURRET GUNNER
1195(1)
Robinson Jeffers, TO THE STONE-CUTTERS
1196(1)
Ben Jonson, ON MY FIRST SON
1196(1)
Donald Justice, COUNTING THE MAD
1197(1)
John Keats, ODE ON A GRECIAN URN
1197(2)
John Keats, ON FIRST LOOKING INTO CHAPMAN'S HOMER
1199(1)
John Keats, WHEN I HAVE FEARS THAT I MAY CEASE TO BE
1200(1)
John Keats, TO AUTUMN
1201(1)
Philip Larkin, HOME IS SO SAD
1202(1)
Philip Larkin, POETRY OF DEPARTURES
1203(1)
Irving Layton, THE BULL CALF
1204(1)
Philip Levine, THEY FEED THEY LION
1205(1)
Adrian Louis, LOOKING FOR JUDAS
1206(1)
Robert Lowell, SKUNK HOUR
1206(2)
Andrew Marvell, TO HIS COY MISTRESS
1208(1)
James Merrill, KITE POEM
1209(1)
Charlotte Mew, THE FARMER'S BRIDE
1210(1)
Edna St. Vincent Millay, RECUERDO
1211(1)
John Milton, HOW SOON HATH TIME
1212(1)
John Milton, WHEN I CONSIDER HOW MY LIGHT IS SPENT
1212(1)
Marianne Moore, POETRY
1213(1)
Frederick Morgan, THE MASTER
1214(1)
Marilyn Nelson, A STRANGE BEAUTIFUL WOMAN
1215(1)
Howard Nemerov, THE WAR IN THE AIR
1216(1)
Lorine Niedecker, SORROW MOVES IN WIDE WAVES
1217(1)
gone Noguchi, A SELECTION OF HOKKU
1218(1)
Sharon Olds, THE ONE GIRL AT THE BOYS' PARTY
1219(1)
Wilfred Owen, ANTHEM FOR DOOMED YOUTH
1220(1)
Linda Pastan, ETHICS
1220(1)
Robert Phillips, RUNNING ON EMPTY
1221(1)
Sylvia Plath, DADDY
1222(3)
Edgar Allan Poe, A DREAM WITHIN A DREAM
1225(1)
Alexander Pope, A LITTLE LEARNING IS A DANG'ROUS THING
1226(1)
Ezra Pound, THE RIVER-MERCHANT'S WIFE: A LETTER
1226(2)
Dudley Randall, A DIFFERENT IMAGE
1228(1)
John Crowe Ransom, PIAZZA PIECE
1229(1)
Henry Reed, NAMING OF PARTS
1229(1)
Adrienne Rich, LIVING IN SIN
1230(1)
Adrienne Rich, POWER
1231(1)
Edwin Arlington Robinson, MINIVER CHEEVY
1232(1)
Theodore Roethke, ELEGY FOR JANE
1233(1)
Mary Jo Salter, WELCOME TO HIROSHIMA
1234(2)
William Shakespeare, WHEN, IN DISGRACE WITH FORTUNE AND MEN'S EYES
1236(1)
William Shakespeare, NOT MARBLE NOR THE GILDED MONUMENTS
1237(1)
William Shakespeare, WEARY WITH TOIL, I HASTE ME TO MY BED
1237(1)
William Shakespeare, THAT TIME OF YEAR THOU MAYST IN ME BEHOLD
1238(1)
William Shakespeare, MY MISTRESS' EYES ARE NOTHING LIKE THE SUN
1238(1)
Louis Simpson, AMERICAN POETRY
1239(1)
David R. Slavitt, TITANIC
1239
Christopher Smart, FOR I WILL CONSIDER MY CAT JEOFFRY
124(1118)
William Jay Smith, AMERICAN PRIMITIVE
1242(1)
Cathy Song, STAMP COLLECTING
1243(1)
William Stafford, THE FARM ON THE GREAT PLAINS
1244(1)
Wallace Stevens, PETER QUINCE AT THE CLAVIER
1245(2)
Wallace Stevens, THE EMPEROR OF ICE-CREAM
1247(1)
Ruth Stone, SECOND HAND COAT
1248(1)
Jonathan Swift, A DESCRIPTION OF THE MORNING
1248(1)
Alfred, Lord Tennyson, DARK HOUSE, BY WHICH ONCE MORE I STAND
1249(1)
Alfred, Lord Tennyson, ULYSSES
1250(2)
Dylan Thomas, FERN HILL
1252(1)
John Updike, EX-BASKETBALL PLAYER
1253(2)
Amy Uyematsu, THE TEN MILLION FLAMES OF LOS ANGELES
1255(2)
Derek Walcott, THE VIRGINS
1257(1)
Edmund Waller, GO, LOVELY ROSE
1258(1)
Walt Whitman, A NOISELESS PATIENT SPIDER
1258(1)
Walt Whitman, I HEAR AMERICA SINGING
1259(1)
Richard Wilbur, THE WRITER
1260(1)
C.K. Williams, ELMS
1261(1)
William Carlos Williams, SPRING AND ALL
1261(1)
William Carlos Williams, TO WAKEN AN OLD LADY
1262(1)
William Wordsworth, COMPOSED UPON WESTMINSTER BRIDGE
1263(1)
James Wright, A BLESSING
1264(1)
James Wright, AUTUMN BEGINS IN MARTINS FERRY, OHIO
1265(1)
Mary Sidney Wroth, IN THIS STRANGE LABYRINTH
1265(1)
Sir Thomas Wyatt, THEY FLEE FROM ME THAT SOMETIME DID ME SEKË
1266(1)
William Butler Yeats, CRAZY JANE TALKS WITH THE BISHOP
1267(1)
William Butler Yeats, THE MAGI
1268(1)
William Butler Yeats, WHEN YOU ARE OLD
1268(1)
32 Lives of the Poets
1269(30)
DRAMA 1299(1)
33 Reading a Play
1303(814)
A PLAY IN ITS ELEMENTS
1305(16)
Susan Glaspell, TRIFLES
1305(16)
Was Minnie Wright to blame for the death of her husband? While the menfolk try to unravel a mystery, two women in the kitchen turn up revealing clues.
TRAGEDY
1321(10)
John Millington Synge, RIDERS TO THE SEA
1322(9)
From her island home off the west coast of Ireland, Maurya has already lost seven loved ones to the sea. How can she stop her youngest son from venturing forth?
COMEDY
1331(18)
David Ives, SURE THING
1334(9)
Bill wants to pick up Betty in a cafe, but he makes every mistake in the book. Luckily, he not only gets a second chance, but a third and a fourth as well.
Jane Martin, BEAUTY
1343(6)
We've all wanted to be someone else at one time or another. But what would happen if we got our wish?
WRITER'S PERSPECTIVE
Susan Glaspell on Drama, CREATING TRIFLES
1349(1)
WRITING CRITICALLY
Conflict Resolution
1350(1)
WRITING ASSIGNMENT
1351(1)
STUDENT ESSAY
Outside Trifles
1351(5)
FURTHER SUGGESTIONS FOR WRITING
1356(1)
34 Critical Casebook: Sophocles
1357(1)
THE THEATER OF SOPHOCLES
1357(1)
STAGING
1357(4)
THE CIVIC ROLE OF GREEK DRAMA
1361(1)
ARISTOTLE'S CONCEPT OF TRAGEDY
1362(2)
SOPHOCLES
1364(1)
PLAYS
THE ORIGINS OF OEDIPUS THE KING
1364(70)
Sophocles, OEDIPUS THE KING (Translated by Robert Fagles)
1365(69)
"Who is the man the voice of god denounces / resounding out of the rocky gorge of Delphi? / the horror too dark to tell / whose ruthless bloody hands have done the work?"
THE BACKGROUND OF ANTIGONE
1434(55)
Sophocles, ANTIGONE (Translated by Robert Fagles)
1435(54)
In one of the great plays of classical Greek drama, a daughter of Oedipus strives to give the body of her slain brother a proper burial. Soon she finds herself in conflict with a king.
ROBERT FITZGERALD ON SOPHOCLES
Robert Fitzgerald, TRANSLATING SOPHOCLES
1489(1)
CRITICS ON SOPHOCLES
Aristotle, DEFINING TRAGEDY
1490(1)
Sigmund Freud, THE DESTINY OF OEDIPUS
1491(1)
E.R. Dodds, ON MISUNDERSTANDING OEDIPUS
1492(1)
A.E. Haigh, THE IRONY OF SOPHOCLES
1493(2)
Patricia M. Lines, ANTIGONE'S FLAW
1495(2)
WRITING CRITICALLY
Some Things Change, Some Things Don't
1497(1)
WRITING ASSIGNMENT
1498(1)
FURTHER SUGGESTIONS FOR WRITING
1498(1)
35 Critical Casebook: Shakespeare
1499(1)
THE THEATER OF SHAKESPEARE
1499(2)
WILLIAM SHAKESPEARE
1501(1)
PLAYS
A NOTE ON OTHELLO
1501(102)
William Shakespeare, OTHELLO, THE MOOR OF VENICE
1502(1)
Here is a story of jealousy, that "green-eyed monster which cloth mock / The meat it feeds on"-of a passionate, suspicious man and his blameless wife, of a serpent masked as a friend.
THE BACKGROUND OF HAMLET
1603(119)
William Shakespeare, HAMLET, PRINCE OF DENMARK
1604(1)
In perhaps the most celebrated play in English, a ghost demands that young Prince Hamlet avenge his father's "most foul and unnatural murder." But how can Hamlet be sure that the apparition is indeed his father's spirit?
THE BACKGROUND OF A MIDSUMMER NIGHT'S DREAM
1722(64)
William Shakespeare, A MIDSUMMER NIGHT'S DREAM
1723(1)
"The course of true love never did run smooth" is the right motto for this romantic comedy in which love, magic, and mistaken identity combine for madcap results.
BEN JONSON ON SHAKESPEARE
Ben Jonson, ON HIS FRIEND AND RIVAL WILLIAM SHAKESPEARE
1786(1)
CRITICS ON SHAKESPEARE
A.C. Bradley, HAMLET'S MELANCHOLY
1787(1)
Rebecca West, HAMLET AND OPHELIA
1788(1)
Jan Kott, PRODUCING HAMLET
1789(2)
Joel Wingard, READER-RESPONSE ISSUES IN HAMLET
1791(1)
W.H. Auden, IAGO AS A TRIUMPHANT VILLAIN
1792(1)
Maud Bodkin, LUCIFER IN SHAKESPEARE'S OTHELLO
1792(1)
Virginia Mason Vaughan, BLACK AND WHITE IN OTHELLO
1793(1)
Anthony Burgess, AN ASIAN CULTURE LOOKS AT SHAKESPEARE
1794(1)
John Russell Brown, RECOGNIZING LOVE IN A MIDSUMMER NIGHT'S DREAM
1795(2)
Germaine Greer, SHAKESPEARE'S "HONEST MIRTH"
1797(1)
Linda Bamber, FEMALE POWER IN A MIDSUMMER NIGHT'S DREAM
1797(2)
WRITING CRITICALLY
Breaking the Language Barrier
1799(1)
WRITING ASSIGNMENT
1799(1)
STUDENT ESSAY
Othello: Tragedy or Soap Opera?
1800(5)
FURTHER SUGGESTIONS FOR WRITING
1805(1)
36 The Modern Theater
1806(1)
REALISM AND NATURALISM
1806(61)
Henrik Ibsen, A DOLL'S HOUSE (Translated by James McFarlane)
1809(58)
The founder of modern drama portrays a troubled marriage. Helmer, the bank manager, regards his wife Nora as a chuckleheaded pet-not knowing the truth may shatter his smug world.
WRITER'S PERSPECTIVE
George Bernard Shaw on Drama, IBSEN AND THE FAMILIAR SITUATION
1867(1)
TRAGICOMEDY AND THE ABSURD
1868(17)
Milcha Sanchez-Scott, THE CUBAN SWIMMER
1870(15)
Nineteen-year-old Margarita Suárez wants to win a Southern California distance swimming race. Is her family behind her? Quite literally!
WRITER'S PERSPECTIVE
Milcha Sanchez-Scott on Drama, WRITING THE CUBAN SWIMMER
1885(1)
WRITING CRITICALLY
What's So Realistic About Realism?
1886(1)
WRITING ASSIGNMENT
1887(1)
STUDENT ESSAY
Helmer vs. Helmer
1888(3)
FURTHER SUGGESTIONS FOR WRITING
1891(1)
37 Evaluating a Play
1892(1)
WRITING CRITICALLY
Critical Performance
1893(1)
WRITING ASSIGNMENT
1894(1)
FURTHER SUGGESTIONS FOR WRITING
1894(2)
38 Plays for Further Reading
1896(73)
Arthur Miller, DEATH OF A SALESMAN
1897(72)
Willy Loman has bright dreams for himself and his two sons, hut he is an aging salesman whose only assets are a shoeshine and a smile. A modern classic about the downfall of an ordinary American.
WRITER'S PERSPECTIVE
Arthur Miller on Drama, TRAGEDY AND THE COMMON MAN
1969(3)
Tennessee Williams, THE GLASS MENAGERIE
1972(51)
Painfully shy and retiring, shunning love, Laura dwells in a world as fragile as her collection of tiny figurines-until one memorable night a gentleman comes to call.
WRITER'S PERSPECTIVE
Tennessee Williams on Drama, HOW TO STAGE THE GLASS MENAGERIE
2023(3)
39 New Voices in American Drama
2026(1)
Beth Henley, AM I BLUE
2026(17)
His friends want to give John Polk a good time for his eighteenth birthday, but he finds something much more valuable instead.
WRITER'S PERSPECTIVE
Beth Henley on Drama, A PLAYWRIGHT IS BORN
2043(1)
David Henry Hwang, THE SOUND OF A VOICE
2044(15)
A strange man arrives at a solitary woman's home in the remote countryside. As they fall in love, they discover disturbing secrets about one another's past.
WRITER'S PERSPECTIVE
David Henry Hwang on Drama, MULTICULTURAL THEATER
2059(1)
Terrence McNally, ANDRE'S MOTHER
2060(3)
After Andre's funeral the four people who loved him most walk into Central Park together. Three of them talk about their grief, but Andre's mother remains silent about her son, dead of AIDS.
WRITER'S PERSPECTIVE
Terrence McNally on Drama, HOW TO WRITE A PLAY
2063(1)
August Wilson, JOE TURNER'S COME AND GONE
2064(50)
When Herald Loomis turns up at Seth Holly's boardinghouse, he arouses suspicion. And why is the voodoo man out in the garden burying a pigeon and praying over its blood?
WRITER'S PERSPECTIVE
August Wilson on Drama, BLACK EXPERIENCE IN AMERICA
2114(3)
WRITING 2117(1)
40 Writing About Literature
2119
BEGINNING
2119(1)
KEEPING A JOURNAL
2120(1)
USING CRITICAL SOURCES AND MAINTAINING ACADEMIC INTEGRITY
2121(1)
DISCOVERING ESSAY IDEAS
2121(3)
DRAFTING AND REVISING, OR CREATIVITY VS. ANALYSIS
2124(3)
THE FORM OF YOUR FINISHED PAPER
2127(1)
USING SPELL-CHECK AND GRAMMER-CHECK PROGRAMS
2127(3)
Anonymous (after a poem by Jerrold H. Zar), A LITTLE POEM REGARDING COMPUTER SPELL CHECKERS
2128(2)
41 Writing About a Story
2130(1)
EXPLICATING
2130(5)
Sample Student Essay (Explication)
2132(3)
ANALYZING
2135(7)
Sample Student Essay (Analysis)
2136(4)
Sample Student Card Report
2140(2)
COMPARING AND CONTRASTING
2142(1)
SUGGESTIONS FOR WRITING
2143(4)
42 Writing About a Poem
2147(1)
EXPLICATING
2148(5)
Robert Frost, DESIGN
2149(1)
Sample Student Essay (Explication)
2149(4)
ANALYZING
2153(3)
Sample Student Essay (Analysis)
2154(2)
COMPARING AND CONTRASTING
2156(4)
Abbie Huston Evans, WING-SPREAD
2157(1)
Sample Student Essay (Comparison)
2158(2)
HOW TO QUOTE A. POEM
2160(2)
BEFORE YOU BEGIN
2162(1)
SUGGESTIONS FOR WRITING
2163(4)
Robert Frost, IN WHILE (early draft of "DESIGN")
2165(2)
43 Writing About a Play
2167(3)
METHODS
2167(2)
HOW TO QUOTE A PLAY
2169(1)
WRITING A CARD REPORT
2170(4)
Sample Student Card Report
2172(2)
REVIEWING A PLAY
2174(2)
Sample Student Drama Review
2175(1)
SUGGESTIONS FOR WRITING
2176(3)
44 Writing a Research Paper
2179(1)
DOING RESEARCH FOR AN ESSAY
2179(2)
EVALUATING AND USING INTERNET SOURCES
2181(3)
GUARDING ACADEMIC INTEGRITY
2184(1)
ACKNOWLEDGING AND DOCUMENTING SOURCES
2184(9)
SAMPLE STUDENT RESEARCH PAPER
2193(1)
CONCLUDING THOUGHTS
2193(1)
REFERENCE GUIDE FOR CITATIONS
2194(7)
45 Critical Approaches to Literature
2201(1)
FORMALIST CRITICISM
2202(5)
Cleanth Brooks, THE FORMALIST CRITIC
2203(1)
Michael Clark, LIGHT AND DARKNESS IN "SONNY'S BLUES"
2204(1)
Robert Langbaum, ON ROBERT BROWNING'S "MY LAST DUCHESS"
2205(2)
BIOGRAPHICAL CRITICISM
2207(5)
Virginia Llewellyn Smith, CHEKHOV'S ATTITUDE TO ROMANTIC LOVE
2208(2)
Brett C. Millier, ON ELIZABETH BISHOP'S "ONE ART"
2210(1)
Emily Toth, THE SOURCE FOR ALCÉE LABALLIÈRE IN "THE STORM"
2211(1)
HISTORICAL CRITICISM
2212(6)
Hugh Kenner, IMAGISM
2213(2)
Joseph Moldenhauer, "TO HIS COY MISTRESS" AND THE RENAISSANCE TRADITION
2215(1)
Barbara T. Christian, "EVERYDAY USE" AND THE BLACK POWER MOVEMENT
2216(2)
PSYCHOLOGICAL CRITICISM
2218(5)
Sigmund Freud, THE NATURE OF DREAMS
2219(1)
Gretchen Schulz and R.J.R. Rockwood, FAIRY TALE MOTIFS IN "WHERE ARE YOU GOING, WHERE HAVE YOU BEEN?"
2220(2)
Harold Bloom, POETIC INFLUENCE
2222(1)
MYTHOLOGICAL CRITICISM
2223(4)
C.G. Jung, THE COLLECTIVE UNCONSCIOUS AND ARCHETYPES
2223(1)
Northrop Frye, MYTHIC ARCHETYPES
2224(1)
Edmond Volpe, MYTH IN FAULKNER'S "BARN BURNING"
2225(2)
SOCIOLOGICAL CRITICISM
2227(4)
Georg Lukacs, CONTENT DETERMINES FORM
2228(1)
Daniel P. Watkins, MONEY AND LABOR IN "THE ROCKING-HORSE WINNER"
2229(1)
Alfred Kazin, WALT WHITMAN AND ABRAHAM LINCOLN
2230(1)
GENDER CRITICISM
2231(4)
Elaine Showalter, TOWARD A FEMINIST POETICS
2232(1)
Juliann Fleenor, GENDER AND PATHOLOGY IN "THE YELLOW WALLPAPER"
2233(1)
Sandra M. Gilbert and Susan Gubar, THE FREEDOM OF EMILY DICKINSON
2234(1)
READER-RESPONSE CRITICISM
2235(5)
Stanley Fish, AN ESKIMO "A ROSE FOR EMILY"
2236(1)
Robert Scholes, "HOW DO WE MAKE A POEM?"
2237(2)
Michael J. Colacurcio, THE END OF YOUNG GOODMAN BROWN
2239(1)
DECONSTRUCTIONIST CRITICISM
2240(5)
Roland Barthes, THE DEATH OF THE AUTHOR
2241(1)
Barbara Johnson, RIGOROUS UNRELIABILITY
2242(1)
Geoffrey Hartman, ON WORDSWORTH'S "A SLUMBER DID MY SPIRIT SEAL"
2243(2)
CULTURAL STUDIES
2245
Vincent B. Leitch, POSTSTRUCTURALIST CULTURAL CRITIQUE
2246(1)
Mark Bauerlein, WHAT IS CULTURAL STUDIES?
2247(2)
Heather Glen, THE STANCE OF OBSERVATION IN WILLIAM BLAKE'S "LONDON"
2249
Glossary of Literary Terms G1
Acknowledgments A1
Photo Acknowledgments A17
Index of Authors and Titles I1
List of Authors and Media Resources
(front endpa
Index of Literary Terms (back endpap


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