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

by ;
Edition:
4th
ISBN13:

9780321245502

ISBN10:
0321245504
Format:
Paperback
Pub. Date:
1/1/2005
Publisher(s):
Longman

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Summary

Literature, Compact 4/e , the concise edition of the most popular introduction of its kind, is organized into three genres--Fiction, 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 xxxix
To the Instructor xliii
About the Authors lv
FICTION 1(428)
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(1)
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(1)
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(58)
William Faulkner,
A ROSE FOR EMILY
29(1)
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(1)
Mr. Kapasi's life had settled into a quiet pattern and then Mrs. Das and her family came into it.
James Baldwin,
SONNY'S BLUES
53(1)
Two brothers in Harlem see life differently. The older brother is the sensible family man, but Sonny wants to be a jazz musician.
WRITER'S PERSPECTIVE
James Baldwin on Writing,
RACE AND THE AFRICAN AMERICAN WRITER
77(2)
WRITING CRITICALLY
How Point of View Shapes a Story
79(1)
WRITING ASSIGNMENT
79(1)
FURTHER SUGGESTIONS FOR WRITING
80(1)
3 Character
81(35)
Katherine Anne Porter,
THE JILTING OF GRANNY WEATHERALL
84(1)
For sixty years Ellen Weatherall has fought hack the memory of that terrible day, but now once more the priest waits in the house.
Alice Walker,
EVERYDAY USE
92(1)
When successful Dee visits from the city, she has changed her name. Her mother and sister notice other things have changed, too.
Raymond Carver,
CATHEDRAL
99(1)
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
111(1)
WRITING CRITICALLY
How Character Creates Action
112(1)
WRITING ASSIGNMENT
113(1)
STUDENT ESSAY
Comparing Miss Emily and Miss Brill
113(2)
FURTHER SUGGESTIONS FOR WRITING
115(1)
4 Setting
116(34)
Kate Chopin,
THE STORM
119(1)
Even with her husband away, Calixta feels happily, securely married. Why then should she not shelter an old admirer from the rain?
T. Coraghessan Boyle,
GREASY LAKE
124(1)
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
132(1)
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
147(1)
WRITING CRITICALLY
How Time and Place Set a Story
148(1)
WRITING ASSIGNMENT
149(1)
FURTHER SUGGESTIONS FOR WRITING
149(1)
5 Tone and Style
150(35)
Ernest Hemingway,
A CLEAN, WELL-LIGHTED PLACE
154(1)
All by himself each night, the old man lingers in the bright cafe. What does he need more than brandy? One other knew.
William Faulkner,
BARN BURNING
158(1)
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
172(10)
Ha Jin,
SABOTEUR
173(1)
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
182(1)
WRITING CRITICALLY
Be Style-Conscious
183(1)
WRITING ASSIGNMENT
184(1)
FURTHER SUGGESTIONS FOR WRITING
184(1)
6 Theme
185(15)
Chinua Achebe,
DEAD MEN'S PATH
187(1)
The new headmaster of the village school was determined to fight superstition, but the villagers did not agree.
Luke 15: 11-32,
THE PARABLE OF THE PRODIGAL SON
190(1)
A father has two sons. One demands his inheritance now and leaves to spend it with ruinous results.
Kurt Vonnegut, Jr.,
HARRISON BERGERON
191(1)
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
197(1)
WRITING CRITICALLY
Stating the Theme
198(1)
WRITING ASSIGNMENT
199(1)
FURTHER SUGGESTIONS FOR WRITING
199(1)
7 Symbol
200(33)
John Steinbeck,
THE CHRYSANTHEMUMS
202(1)
Fenced-in Elisa feels emotionally starved-then her life promises to blossom with the arrival of the scissors-grinding man.
Shirley Jackson,
THE LOTTERY
211(1)
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
218(1)
A two-page story speaks volumes about an open-hearted girl and her married lover.
Ursula K. Le Quin,
THE ONES WHO WALK AWAY FROM OMELAS
221(1)
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"
227(1)
WRITING CRITICALLY
Recognizing Symbols
228(1)
WRITING ASSIGNMENT
228(1)
STUDENT ESSAY
An Analysis of the Symbolism in Steinbeck's "The Chrysanthemums"
229(3)
FURTHER SUGGESTIONS FOR WRITING
232(1)
8 Two Critical Casebooks: Edgar Allan Poe and Flannery O'Connor
233(65)
EDGAR ALLAN POE
233(20)
STORIES
THE TELL-TALE HEART
234(1)
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
238(1)
The uninvited guest at Prince Prospero's masquerade ball changes the life of everyone present in this masterpiece of mood and effect.
EDGAR ALLAN POE ON EDGAR ALLAN POE
THE TALE AND ITS EFFECT
243(1)
ON IMAGINATION
244(1)
THE PHILOSOPHY OF COMPOSITION
245(1)
CRITICS ON EDGAR ALLAN POE
Daniel Hoffman,
THE FATHER-FIGURE IN "THE TELL-TALE HEART"
246(2)
Marie Bonaparte,
A PSYCHOANALYTIC READING OF "THE MASQUE OF THE RED DEATH"
248(2)
Charles Baudelaire,
ON POE'S GENIUS
250(1)
James Tuttleton,
POE'S QUEST FOR SUPERNAL BEAUTY
251(2)
FLANNERY O'CONNOR
253(43)
STORIES
A GOOD MAN IS HARD TO FIND
254(1)
Wanted: The Misfit, a cold-blooded killer. An ordinary family vacation leads to horror-and one moment of redeeming grace.
REVELATION
265(1)
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"
281(3)
ON HER CATHOLIC FAITH
284(1)
EXCERPT FROM "THE GROTESQUE IN SOUTHERN FICTION": THE SERIOUS WRITER AND THE TIRED READER
284(2)
YEARBOOK CARTOONS
286(1)
CRITICS ON FLANNERY O'CONNOR
Robert H. Brinkmeyer Jr.,
FLANNERY O'CONNOR AND HER READERS
287(3)
J.O. Tate,
A GOOD SOURCE IS NOT SO HARD TO FIND: THE REAL LIFE MISFIT
290(2)
Mary Jane Schenck,
DECONSTRUCTING "A GOOD MAN IS HARD TO FIND"
292(2)
Kathleen Feeley,
THE PROPHET IN O'CONNOR'S "REVELATION"
294(2)
WRITING CRITICALLY
How One Story Illuminates Another
296(1)
WRITING ASSIGNMENT
296(1)
FURTHER SUGGESTIONS FOR WRITING ON EDGAR ALLAN POE
297(1)
FURTHER SUGGESTIONS FOR WRITING ON FLANNERY O'CONNOR
297(1)
9 Stories for Further Reading
298(131)
Margaret Atwood,
HAPPY ENDINGS
298(4)
John and Mary meet. What happens next? This witty experimental story offers five different outcomes.
Jorge Luis Borges,
THE GOSPEL ACCORDING TO MARK
302(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
307(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.
Kate Chopin,
THE STORY OF AN HOUR
322(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
324(2)
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.
Gabriel Garcia Márquez,
THE HANDSOMEST DROWNED MAN IN THE WORLD
326(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
331(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
344(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
354(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
364(8)
Something very odd lurks beneath the surface of this family supper, and it might prove fatal.
James Joyce,
ARABY
372(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.
Franz Kafka,
BEFORE THE LAW
377(2)
A man from the country comes in search of the Law. He never guesses what will prevent him from finding it in this modern parable.
Jamaica Kincaid,
GIRL
379(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
381(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.
Katherine Mansfield,
Miss BRILL
393(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.
Joyce Carol Oates,
WHERE ARE YOU GOING, WHERE HAVE YOU BEEN?
397(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
410(13)
What each soldier carried into the combat zone was largely determined by necessity, but each man's necessities differed.
Leslie Marmon Silko,
THE MAN TO SEND RAIN CLOUDS
423(12)
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 429(1)
10 Reading a Poem
433(432)
William Butler Yeats, T
HE LAKE ISLE OF INNISFREE
435(3)
LYRIC POETRY
438(2)
D.H. Lawrence,
PIANO
438(1)
Adrienne Rich,
AUNT JENNIFER'S TIGERS
439(1)
NARRATIVE POETRY
440(3)
Anonymous,
SIR PATRICK SPENCE
440(2)
Robert Frost,
"OUT, OUT-"
442(1)
DRAMATIC POETRY
443(3)
Robert Browning,
MY LAST DUCHESS
444(2)
WRITER'S PERSPECTIVE
Adrienne Rich on Writing,
RECALLING "AUNT JENNIFER'S TIGERS"
446(1)
WRITING CRITICALLY
Can a Poem Be Paraphrased?
447(1)
William Stafford,
ASK ME
447(1)
William Stafford,
A PARAPHRASE OF "ASK ME"
448(1)
WRITING ASSIGNMENT
448(1)
11 Listening to a Voice
449(1)
TONE
449(6)
Theodore Roethke,
MY PAPA'S WALTZ
450(1)
Countee Cullen,
FOR A LADY I KNOW
451(1)
Anne Bradstreet,
THE AUTHOR TO HER BOOK
451(1)
Walt Whitman,
TO A LOCOMOTIVE IN WINTER
452(1)
Emily Dickinson,
I LIKE TO SEE IT LAP THE MILES
453(1)
Benjamin Alire Sáenz,
TO THE DESERT
454(1)
Weldon Kees,
FOR MY DAUGHTER
455(1)
THE PERSON IN THE POEM
455(7)
Natasha Trethewey,
WHITE LIES
456(1)
Edwin Arlington Robinson,
LUKE HAVERGAL
457(1)
Ted Hughes,
HAWK ROOSTING
458(1)
William Wordsworth,
I WANDERED LONELY AS A CLOUD
459(1)
Dorothy Wordsworth,
JOURNAL ENTRY
460(1)
James Stephens,
A GLASS OF BEER
461(1)
William Carlos Williams,
THE RED WHEELBARROW
462(1)
IRONY
462(6)
Robert Creeley,
OH NO
463(1)
W.H. Auden,
THE UNKNOWN CITIZEN
464(1)
Sharon Olds,
RITES OF PASSAGE
465(1)
Sarah N. Cleghorn,
THE GOLF LINKS
466(1)
Josephine Miles,
CIVILIAN
466(1)
Thomas Hardy,
THE WORKBOX
467(1)
FOR REVIEW AND FURTHER STUDY
William Blake,
THE CHIMNEY SWEEPER
468(1)
William Stafford,
AT THE UN-NATIONAL MONUMENT ALONG THE CANADIAN BORDER
469(1)
Richard Lovelace,
TO LUCASTA
469(1)
Wilfred Owen,
DULCE ET DECORUM EST
470(1)
WRITER'S PERSPECTIVE
Wilfred Owen on Writing,
WAR POETRY
471(1)
WRITING CRITICALLY
Paying Attention to the Obvious
472(1)
WRITING ASSIGNMENT
472(1)
STUDENT ESSAY
Word Choice, Tone, and Point of View in Roethke's "My Papa's Waltz"
473(3)
FURTHER SUGGESTIONS FOR WRITING
476(1)
12 Words
477(1)
LITERAL MEANING: WHAT A POEM SAYS FIRST
477(4)
William Carlos Williams,
THIS IS JUST TO SAY
478(1)
Marianne Moore,
SILENCE
479(1)
Robert Graves,
DOWN, WANTON, DOWN!
480(1)
John Donne,
BATTER MY HEART, THREE-PERSONED GOD, FOR YOU
481(1)
THE VALUE OF A DICTIONARY
481(4)
Henry Wadsworth Longfellow,
AFTERMATH
483(1)
J.V. Cunningham,
FRIEND, ON THIS SCAFFOLD THOMAS MORE LIES DEAD
484(1)
Carl Sandburg,
GRASS
485(1)
WORD CHOICE AND WORD ORDER
485(7)
Robert Herrick,
UPON JULIA'S CLOTHES
487(2)
Kay Ryan,
BLANDEUR
489(1)
Thomas Hardy,
THE RUINED MAID
490(1)
Richard Eberhart,
THE FURY OF AERIAL BOMBARDMENT
491(1)
Wendy Cope,
LONELY HEARTS
491(1)
FOR REVIEW AND FURTHER STUDY
E.E. Cummings,
ANYONE LIVED IN A PRETTY HOW TOWN
492(2)
Billy Collins,
THE NAMES
494(1)
Anonymous,
CARNATION MILK
495(1)
William Wordsworth,
MY HEART LEAPS UP WHEN I BEHOLD
496(1)
William Wordsworth,
MUTABILITY
496(1)
Lewis Carroll,
JABBERWOCKY
496(2)
WRITER'S PERSPECTIVE
Lewis Carroll on Writing,
HUMPTY DUMPTY EXPLICATES "JABBERWOCKY"
498(1)
WRITING CRITICALLY
How Much Difference Does a Word Make?
499(1)
WRITING ASSIGNMENT
500(1)
FURTHER SUGGESTIONS FOR WRITING
500(2)
13 Saying and Suggesting 5o
o1
John Masefield,
CARGOES
502(1)
William Blake,
LONDON
503(2)
Wallace Stevens,
DISILLUSIONMENT OF TEN O'CLOCK
505(1)
Gwendolyn Brooks,
THE INDEPENDENT MAN
506(1)
Timothy Steele,
EPITAPH
506(1)
Walter de la Mare,
THE LISTENERS
506(2)
Robert Frost,
FIRE AND ICE
508(1)
Alfred, Lord Tennyson,
TEARS, IDLE TEARS
508(1)
Richard Wilbur,
LOVE CALLS US TO THE THINGS OF THIS WORLD
509(1)
WRITER'S PERSPECTIVE
Richard Wilbur on Writing,
CONCERNING "LOVE CALLS US TO THE THINGS OF THIS WORLD"
510(1)
WRITING CRITICALLY
The Ways a Poem Suggests
511(1)
WRITING ASSIGNMENT
512(1)
FURTHER SUGGESTIONS FOR WRITING
512(1)
14 Imagery
513(6)
Ezra Pound,
IN A STATION OF THE METRO
513(1)
Taniguchi Buson,
THE PIERCING CHILL I FEEL
513(2)
T.S. Eliot,
THE WINTER EVENING SETTLES DOWN
515(1)
Theodore Roethke,
ROOT CELLAR
515(1)
Elizabeth Bishop,
THE FISH
516(2)
Charles Simic,
FORK
518(1)
Emily Dickinson,
A ROUTE OF EVANESCENCE
518(1)
Gerard Manley Hopkins,
PIED BEAUTY
519(1)
ABOUT HAIKU
519(3)
Arakida Moritake,
THE FALLING FLOWER
519(1)
Matsuo Basho,
HEAT-LIGHTNING STREAK
520(1)
Matsuo Basho,
IN THE OLD STONE POOL
520(1)
Taniguchi Buson,
ON THE ONE-TON TEMPLE BELL
520(1)
Taniguchi Buson,
I GO
520(1)
Kobayashi Issa,
ONLY ONE GUY
521(1)
Kobayashi Issa,
CRICKET
521(1)
Suiko Matsushita,
RAIN SHOWER FROM MOUNTAIN
521(1)
Suiko Matsushita,
COSMOS IN BLOOM
521(1)
Neiji Ozawa,
WAR FORCED US FROM CALIFORNIA
521(1)
Neiji Ozawa,
THE WAR
521(1)
Hakuro Wada,
EVEN THE CROAKING OF FROGS
521(1)
Etheridge Knight, Lee Gurga, Penny Harter, Jennifer Brutschy, John Ridland, Connie Bensley,
A SELECTION OF HAIKU
522(1)
FOR REVIEW AND FURTHER STUDY
John Keats,
BRIGHT STAR! WOULD I WERE STEADFAST AS THOU ART
522(1)
Walt Whitman,
THE RUNNER
523(1)
T.E. Hulme,
IMAGE
523(1)
Robert Bly,
DRIVING TO TOWN LATE TO MAIL A LETTER
523(1)
Gary Snyder,
PIUTE CREEK
523(1)
H.D.,
HEAT
524(1)
Stevie Smith,
NOT WAVING BUT DROWNING
524(1)
WRITER'S PERSPECTIVE
Ezra Pound on Writing,
THE IMAGE
525(1)
WRITING CRITICALLY
Analyzing Images
526(1)
WRITING ASSIGNMENT
527(1)
STUDENT ESSAY
Elizabeth Bishop's Use of Imagery in "The Fish"
527(4)
FURTHER SUGGESTIONS FOR WRITING
531(1)
15 Figures of Speech
532(1)
WHY SPEAK FIGURATIVELY?
532(3)
Alfred, Lord Tennyson,
THE EAGLE
533(1)
William Shakespeare,
SHALL I COMPARE THEE TO A SUMMER'S DAY?
533(1)
Howard Moss,
SHALL I COMPARE THEE TO A SUMMER'S DAY?
534(1)
METAPHOR AND SIMILE
535(5)
Emily Dickinson,
MY LIFE HAD STOOD - A LOADED GUN
536(1)
Alfred, Lord Tennyson,
FLOWER IN THE CRANNIED WALL
537(1)
William Blake,
TO SEE A WORLD IN A GRAIN OF SAND
537(1)
Sylvia Plath,
METAPHORS
538(1)
N. Scott Momaday,
SIMILE
538(2)
OTHER FIGURES
540(5)
James Stephens,
THE WIND
540(2)
Chidiock Tichborne,
ELEGY, WRITTEN WITH HIS OWN HAND IN THE TOWER BEFORE HIS EXECUTION
542(1)
Margaret Atwood,
YOU FIT INTO ME
543(1)
John Ashbery,
THE CATHEDRAL IS
543(1)
Louis MacNeice,
PLAIN SPEAKING
544(1)
FOR REVIEW AND FURTHER STUDY
Robert Frost,
THE SILKEN TENT
545(1)
Denise Levertov,
LEAVING FOREVER
545(1)
Jane Kenyon,
THE SUITOR
546(1)
Robert Frost,
THE SECRET SITS
546(1)
H.D.,
LOVE THAT I BEAR
546(1)
A.R. Ammons,
COWARD
547(1)
Robert Burns,
OH, MY LOVE IS LIKE A RED, RED ROSE
547(1)
WRITER'S PERSPECTIVE
Robert Frost on Writing,
THE IMPORTANCE OF POETIC METAPHOR
548(1)
WRITING CRITICALLY
How Metaphors Enlarge a Poem's Meaning
549(1)
WRITING ASSIGNMENT
549(1)
FURTHER SUGGESTIONS FOR WRITING
550(1)
16 Song
551(1)
SINGING AND SAYING
551(6)
Ben Jonson,
TO CELIA
552(1)
Anonymous,
THE CRUEL MOTHER
553(2)
William Shakespeare,
TAKE, O, TAKE THOSE LIPS AWAY
555(1)
Edwin Arlington Robinson,
RICHARD CORY
556(1)
Paul Simon,
RICHARD CORY
556(1)
BALLADS
557(4)
Anonymous,
BONNY BARBARA ALLAN
557(3)
Dudley Randall,
BALLAD OF BIRMINGHAM
560(1)
BLUES
561(2)
Bessie Smith with Clarence Williams,
JAILHOUSE BLUES
562(1)
W.H. Auden,
FUNERAL BLUES
563(1)
RAP
563(2)
Run D.M.C.,
from PETER PIPER
564(1)
FOR REVIEW AND FURTHER STUDY
John Lennon and Paul McCartney,
ELEANOR RIGBY
565(2)
Gwendolyn Brooks,
QUEEN OF THE BLUES
567(2)
WRITER'S PERSPECTIVE
Paul McCartney on Writing,
CREATING "ELEANOR RIGBY"
569(1)
WRITING CRITICALLY
Is There a Difference Between Poetry and Song?
570(1)
WRITING ASSIGNMENT
571(1)
FURTHER SUGGESTIONS FOR WRITING
571(1)
17 Sound
572(1)
SOUND AS MEANING
572(4)
Alexander Pope,
TRUE EASE IN WRITING COMES FROM ART, NOT CHANCE
573(2)
William Butler Yeats,
WHO GOES WITH FERGUS?
575(1)
John Updike,
RECITAL
576(1)
William Wordsworth,
A SLUMBER DID MY SPIRIT SEAL
576(1)
ALLITERATION AND ASSONANCE
576(3)
A.E. Housman,
EIGHT O'CLOCK
578(1)
Robert Herrick,
UPON JULIA'S VOICE
578(1)
Alfred, Lord Tennyson,
THE SPLENDOR FALLS ON CASTLE WALLS
579(1)
RIME
579(5)
William Cole,
ON MY BOAT ON LAKE CAYUGA
580(2)
Hilaire Belloc,
THE HIPPOPOTAMUS
582(1)
Gerard Manley Hopkins,
GOD'S GRANDEUR
583(1)
Fred Chappell,
NARCISSUS AND ECHO
583(1)
READING AND HEARING POEMS ALOUD
584(3)
Michael Stillman,
IN MEMORIAM JOHN COLTRANE
585(1)
William Shakespeare,
FULL FATHOM FIVE THY FATHER LIES
585(1)
Chryss Yost,
LAI WITH SOUNDS OF SKIN
586(1)
T.S. Eliot,
VIRGINIA
586(1)
WRITER'S PERSPECTIVE
T.S. Eliot on Writing,
THE MUSIC OF POETRY
587(1)
WRITING CRITICALLY
Is it Possible to Write About Sound?
588(1)
WRITING ASSIGNMENT
589(1)
FURTHER SUGGESTIONS FOR WRITING
589(1)
18 Rhythm
590(1)
STRESSES AND PAUSES
590(7)
Gwendolyn Brooks,
WE REAL COOL
594(1)
Alfred, Lord Tennyson,
BREAK, BREAK, BREAK
595(1)
Ben Jonson,
SLOW, SLOW, FRESH FOUNT, KEEP TIME WITH MY SALT TEARS
595(1)
Sir Thomas Wyatt,
WITH SERVING STILL
596(1)
Dorothy Parker,
RÉSUMÉ
597(1)
METER
597(8)
Max Beerbohm,
ON THE IMPRINT OF THE FIRST ENGLISH EDITION OF THE WORKS OF MAX BEERBOHM
597(5)
Edna St. Vincent Millay,
COUNTING-OUT RHYME
602(1)
A.E. Housman,
WHEN I WAS ONE-AND-TWENTY
603(1)
William Carlos Williams,
HEEL & TOE TO THE END
603(1)
Walt Whitman,
BEAT! BEAT! DRUMS!
604(1)
David Mason,
SONG OF THE POWERS
604(1)
WRITER'S PERSPECTIVE
Gwendolyn Brooks on Writing,
HEARING "WE REAL COOL"
605(1)
WRITING CRITICALLY
Freeze-Framing the Sound
606(1)
WRITING ASSIGNMENT
607(1)
FURTHER SUGGESTIONS FOR WRITING
608(1)
19 Closed Form
608(1)
FORMAL PATTERNS
609(5)
John Keats,
THIS LIVING HAND, NOW WARM AND CAPABLE
610(2)
Robert Graves,
COUNTING THE BEATS
612(1)
John Donne,
SONG ("GO AND CATCH A FALLING STAR")
613(1)
THE SONNET
614(4)
William Shakespeare,
LET ME NOT TO THE MARRIAGE OF TRUE MINDS
614(1)
Edna St. Vincent Millay,
WHAT LIPS MY LIPS HAVE KISSED, AND WHERE, AND WHY
615(1)
Robert Frost,
ACQUAINTED WITH THE NIGHT
616(1)
Kim Addonizio,
FIRST POEM FOR YOU
617(1)
R.S. Gwynn,
SCENES FROM THE PLAYROOM
617(1)
A.E. Stallings,
SINE QUA NON
617(1)
THE EPIGRAM
618(1)
Alexander Pope, Sir John Harrington, Langston Hughes, J.V. Cunningham, Stevie Smith, Anonymous,
A SELECTION OF EPIGRAMS
618(1)
OTHER FORMS
619(4)
Robert Pinsky,
ABC
619(1)
Dylan Thomas,
DO NOT GO GENTLE INTO THAT GOOD NIGHT
620(1)
Robert Bridges,
TRIOLET
621(1)
Elizabeth Bishop,
SESTINA
621(2)
WRITER'S PERSPECTIVE
Robert Graves on Writing,
POETIC INSPIRATION AND POETIC FORM
623(1)
WRITING CRITICALLY
Turning Points
624(1)
WRITING ASSIGNMENT
624(1)
FURTHER SUGGESTIONS FOR WRITING
625(1)
20 Open Form
626(9)
Denise Levertov,
ANCIENT STAIRWAY
626(4)
E.E. Cummings,
BUFFALO BILL'S
630(1)
W.S. Merwin,
FOR THE ANNIVERSARY OF MY DEATH
630(1)
Stephen Crane,
THE HEART
631(1)
Walt Whitman,
CAVALRY CROSSING A FORD
631(1)
Ezra Pound,
THE GARRET
632(1)
Wallace Stevens,
THIRTEEN WAYS OF LOOKING AT A BLACKBIRD
632(3)
VISUAL POETRY
635(2)
George Herbert,
EASTER WINGS
635(1)
John Hollander,
SWAN AND SHADOW
636(1)
SEEING THE LOGIC OF OPEN FORM VERSE
637(2)
E.E. Cummings,
IN JUST-
637(1)
Lucille Clifton,
HOMAGE TO MY HIPS
638(1)
Carole Satyamurti,
I SHALL PAINT MY NAILS RED
638(1)
WRITER'S PERSPECTIVE
Walt Whitman on Writing,
THE POETRY OF THE FUTURE
639(1)
WRITING CRITICALLY
Lining Up for Free Verse
640(1)
WRITING ASSIGNMENT
640(1)
FURTHER SUGGESTIONS FOR WRITING
640(1)
21 Symbol
641(1)
T. S. Eliot,
THE BOSTON EVENING TRANSCRIPT
642(1)
Emily Dickinson,
THE LIGHTNING IS A YELLOW FORK
643(2)
Thomas Hardy,
NEUTRAL TONES
645(1)
Matthew 13: 24-30,
THE PARABLE OF THE GOOD SEED
646(1)
George Herbert,
THE WORLD
646(2)
Robert Frost,
THE ROAD NOT TAKEN
648(1)
FOR REVIEW AND FURTHER STUDY
Robinson Jeffers,
THE BEAKS OF EAGLES
648(1)
Sara Teasdale,
THE FLIGHT
649(1)
William Carlos Williams,
THE TERM
650(1)
Ted Kooser,
CARRIE
651(1)
Lorine Niedecker,
POPCORN-CAN COVER
651(1)
Wallace Stevens,
ANECDOTE OF THE JAR
651(1)
WRITER'S PERSPECTIVE
William Butler Yeats On Writing,
POETIC SYMBOLS
652(1)
WRITING CRITICALLY
How to Read a Symbol
653(1)
WRITING ASSIGNMENT
653(1)
FURTHER SUGGESTIONS FOR WRITING
654(1)
22 Myth and Narrative
655(4)
Robert Frost,
NOTHING GOLD CAN STAY
657(1)
Thomas Hardy,
THE OXEN
657(1)
William Wordsworth,
THE WORLD IS TOO MUCH WITH US
658(1)
H.D., HELEN
658(1)
ARCHETYPE
659(2)
Louise Bogan,
MEDUSA
660(1)
PERSONAL MYTH
661(3)
William Butler Yeats,
THE SECOND COMING
661(1)
Diane Thiel,
MEMENTO MORI IN MIDDLE SCHOOL
662(2)
MYTH AND POPULAR CULTURE
664(5)
Charles Martin,
TAKEN UP
665(1)
Anne Sexton,
CINDERELLA
666(3)
WRITER'S PERSPECTIVE
Anne Sexton on Writing,
TRANSFORMING FAIRY TALES
669(1)
WRITING CRITICALLY
Demystifying Myth
670(1)
WRITING ASSIGNMENT
671(1)
FURTHER SUGGESTIONS FOR WRITING
671(1)
23 Poetry and Personal Identity
672(5)
Sylvia Plath,
LADY LAZARUS
673(3)
Julia Alvarez,
THE WOMEN ON MY MOTHER'S SIDE WERE KNOWN
676(1)
CULTURE, RACE, AND ETHNICITY
677(5)
Claude McKay,
AMERICA
677(1)
Rhina Espaillat,
BILINGUAL/BILINGUE
678(2)
Samuel Menashe,
THE SHRINE WHOSE SHAPE I AM
680(1)
Francisco X. Alarcón,
THE X IN MY NAME
680(1)
Sherman Alexie,
INDIAN BOY LOVE SONG (#1)
681(1)
Yusef Komunyakaa,
FACING IT
681(1)
GENDER
682(3)
Anne Stevenson,
SOUS-ENTENDU
683(1)
Emily Grosholz,
LISTENING
683(1)
Donald Justice,
MEN AT FORTY
684(1)
Adrienne Rich,
WOMEN
685(1)
FOR REVIEW AND FURTHER STUDY
Shirley Geok-Lin Lim,
LEARNING TO LOVE AMERICA
685(1)
Judith Ortiz Cofer,
QUINCEAÑERA
686(1)
WRITER'S PERSPECTIVE
Rhina Espaillat,
BEING A BILINGUAL WRITER
687(2)
WRITING CRITICALLY
Poetic Voice and Personal Identity
689(1)
WRITING ASSIGNMENT
690(1)
FURTHER SUGGESTIONS FOR WRITING
690(1)
24 Critical Casebook: Latin American Poetry
691(15)
SOR JUANA
693(2)
ASEGURA LA CONFIANZA DE QUE OCULTURÁ DE TODO UN SECRETO
694(1)
Translated by Diane Thiel,
SHE PROMISES TO HOLD A SECRET IN CONFIDENCE
694(1)
PRESENTE EN QUE EL CARIÑO HACE REGALO LA LLANEZA
694(1)
Translated by Diane Thiel,
A SIMPLE GIFT MADE RICH BY AFFECTION
694(1)
PABLO NERUDA
695(4)
MUCHOS SOMOS
696(1)
Translated by Alastair Reid,
WE ARE MANY
696(1)
CIEN SONETOS DE AMOR (V)
697(1)
Translated by Stephen Tapscott,
ONE HUNDRED LOVE SONNETS (V)
698(1)
JORGE LUIS BORGES
699(3)
AMOROSA ANTICIPACIÓN
700(1)
Translated by Robert Fitzgerald,
ANTICIPATION OF LOVE
700(1)
LOS ENIGMAS
701(1)
Translated by John Updike,
THE ENIGMAS
701(1)
OCTAVIO PAZ
702(1)
CON LOS OJOS CERRADOS
703(1)
Translated by John Felstiner,
WITH OUR EYES SHUT
703(1)
CERTEZA
703(1)
Translated by Charles Tomlinson,
CERTAINTY
703(1)
SURREALISM IN LATIN AMERICAN POETRY
703(3)
Frida Kahlo,
THE TWO FRIDAS
705(1)
César Vallejo,
LA CÓLERA QUE QUIEBRA AL HOMBRE EN NIÑOS
705(1)
César Vallejo,
Translated by Thomas Merton,
ANGER
706(1)
LATIN AMERICAN POETS ON POETRY
Sor Juana,
REPLY TO SOR PHILOTHEA
706(1)
Pablo Neruda,
TOWARDS THE SPLENDID CITY
707(1)
Jorge Luis Borges,
THE RIDDLE OF POETRY
708(1)
Octavio Paz,
IN SEARCH OF THE PRESENT
709(1)
CRITICS ON LATIN AMERICAN POETRY
Stephanie Merrim,
ENDGAMES: SOR JUANA INÉS DE LA CRUZ
710(1)
Alastair Reid,
TRANSLATING NERUDA
710(1)
Emir Rodriguez Monegal,
BORGES AND PAZ
711(1)
SUGGESTIONS FOR WRITING
712(1)
25 Recognizing Excellence
713(6)
Anonymous,
O MOON, WHEN I GAZE ON THY BEAUTIFUL FACE
715(1)
Grace Treasone,
LIFE
715(1)
Emily Dickinson,
A DYING TIGER-MOANED FOR DRINK
716(2)
Rod McKuen,
THOUGHTS ON CAPITAL PUNISHMENT
718(1)
William Stafford,
TRAVELING THROUGH THE DARK
719(1)
RECOGNIZING EXCELLENCE
719(10)
William Butler Yeats,
SAILING TO BYZANTIUM
720(2)
Arthur Guiterman,
ON THE VANITY OF EARTHLY GREATNESS
722(1)
Percy Bysshe Shelley,
OZYMANDIAS
723(1)
Robert Hayden,
THE WHIPPING
724(1)
Elizabeth Bishop,
ONE ART
725(2)
Emma Lazarus,
THE NEW COLOSSUS
727(1)
Edgar Allan Poe,
ANNABEL LEE
727(2)
WRITER'S PERSPECTIVE
Edgar Allan Poe on Writing,
A LONG POEM DOES NOT EXIST
729(1)
WRITING CRITICALLY
How to Begin Evaluating a Poem
729(1)
WRITING ASSIGNMENT
730(1)
FURTHER SUGGESTIONS FOR WRITING
731(1)
26 What Is Poetry?
732(1)
Dante, Samuel Johnson, Samuel Taylor Coleridge, William Wordsworth, Thomas Carlyle, Thomas Hardy, Robert Frost, Wallace Stevens, Mina Loy, T.S. Eliot, W.H. Auden, Elizabeth Bishop, Jorge Luis Borges, Octavio Paz, William Stafford, Gwendolyn Brooks,
SOME DEFINITIONS OF POETRY
732(3)
27 Two Critical Casebooks: Emily Dickinson and Langston Hughes
735(1)
EMILY DICKINSON
735(16)
POEMS
SUCCESS IS COUNTED SWEETEST
736(1)
WILD NIGHTS - WILD NIGHTS!
736(1)
THERE'S A CERTAIN SLANT OF LIGHT
737(1)
I FELT A FUNERAL, IN MY BRAIN
737(1)
I'M NOBODY! WHO ARE YOU?
738(1)
THE SOUL SELECTS HER OWN SOCIETY
738(1)
SOME KEEP THE SABBATH GOING TO CHURCH
739(1)
AFTER GREAT PAIN, A FORMAL FEELING COMES
739(1)
MUCH MADNESS IS DIVINEST SENSE
739(1)
I HEARD A FLY BUZZ - WHEN I DIED
740(1)
BECAUSE I COULD NOT STOP FOR DEATH
740(1)
THE BUSTLE IN A HOUSE
741(1)
TELL ALL THE TRUTH BUT TELL IT SLANT
741(1)
EMILY DICKINSON ON EMILY DICKINSON
RECOGNIZING POETRY
742(1)
SELF-DESCRIPTION
743(1)
CRITICS ON EMILY DICKINSON
Thomas Wentworth Higginson,
MEETING EMILY DICKINSON
744(1)
Thomas H. Johnson,
THE DISCOVERY OF EMILY DICKINSON'S MANUSCRIPTS
745(2)
Richard Wilbur,
THE THREE PRIVATIONS OF EMILY DICKINSON
747(2)
Cynthia Griffin Wolff,
DICKINSON AND DEATH (A READING OF "BECAUSE I COULD NOT STOP FOR DEATH")
749(2)
LANGSTON HUGHES
751(8)
POEMS
THE NEGRO SPEAKS OF RIVERS
752(1)
MOTHER TO SON
752(1)
DREAM VARIATIONS
753(1)
I, TOO
753(1)
THE WEARY BLUES
754(1)
SONG FOR A DARK GIRL
755(1)
DESIRE
755(1)
PRAYER
755(1)
BATTLE OF THE LANDLORD
756(1)
END
757(1)
ISLAND
757(1)
THEME FOR ENGLISH B
757(1)
HARLEM [DREAM DEFERRED]
758(1)
LANGSTON HUGHES ON LANGSTON HUGHES
THE NEGRO ARTIST AND THE RACIAL MOUNTAIN
759(1)
THE HARLEM RENAISSANCE
760(2)
CRITICS ON LANGSTON HUGHES
Arnold Rampersad,
HUGHES AS AN EXPERIMENTALIST
762(1)
Rita Dove and Marilyn Nelson,
LANGSTON HUGHES AND HARLEM
763(2)
Darryl Pinckney,
BLACK IDENTITY IN LANGSTON HUGHES
765(1)
Peter Townsend,
LANGSTON HUGHES AND JAZZ
766(2)
Onwuchekwa Jemie,
A READING OF "DREAM DEFERRED"
768(1)
FOR FURTHER READING
769(1)
SUGGESTIONS FOR WRITING
770(1)
2 8 Poems for Further Reading
771(1)
Anonymous,
LORD RANDALL
772(1)
Anonymous,
WESTERN WIND
773(1)
Anonymous,
LAST WORDS OF THE PROPHET
773(1)
Matthew Arnold,
DOVER BEACH
774(1)
John Ashbery,
AT NORTH FARM
775(1)
Margaret Atwood,
ROMANTIC
775(1)
W.H. Auden,
AS I WALKED OUT ONE EVENING
776(2)
W.H. Auden,
MUSEE DES BEAUX ARTS
778(1)
Elizabeth Bishop,
FILLING STATION
779(2)
William Blake,
THE TYGER
781(1)
Gwendolyn Brooks,
THE PREACHER RUMINATES: BEHIND THE SERMON
782(1)
Elizabeth Barrett Browning,
HOW DO I LOVE THEE? LET ME COUNT THE WAYS
782(1)
Robert Browning,
SOLILOQUY OF THE SPANISH CLOISTER
783(2)
Samuel Taylor Coleridge,
KUBLA KHAN
785(2)
Billy Collins,
CARE AND FEEDING
787(1)
E.E. Cummings,
SOMEWHERE I HAVE NEVER TRAVELLED, GLADLY BEYOND
787(1)
John Donne,
DEATH BE NOT PROUD
788(1)
John Donne,
THE FLEA
789(1)
Rita Dove,
SUMMIT BEACH, 1921
790(1)
T.S. Eliot,
THE LOVE SONG OF J. ALFRED PRUFROCK
791(4)
Robert Frost,
BIRCHES
795(1)
Robert Frost,
MENDING WALL
796(2)
Robert Frost,
STOPPING BY WOODS ON A SNOWY EVENING
798(1)
Allen Ginsberg,
A SUPERMARKET IN CALIFORNIA
798(1)
Dana Gioia,
CALIFORNIA HILLS IN AUGUST
799(1)
Thom Gunn,
THE MAN WITH NIGHT SWEATS
800(1)
Thomas Hardy,
THE CONVERGENCE OF THE TWAIN
801(2)
Robert Hayden,
THOSE WINTER SUNDAYS
803(1)
Seamus Heaney,
DIGGING
804(1)
George Herbert,
LOVE
805(1)
Robert Herrick,
TO THE VIRGINS, TO MAKE MUCH OF TIME
806(1)
Gerard Manley Hopkins,
SPRING AND FALL
807(1)
Gerard Manley Hopkins,
THE WINDHOVER
808(1)
A.E. Housman,
LOVELIEST OF TREES, THE CHERRY NOW
808(1)
A.E. Housman,
TO AN ATHLETE DYING YOUNG
809(1)
Randall Jarrell,
THE DEATH OF THE BALL TURRET GUNNER
810(1)
Robinson Jeffers,
TO THE STONE-CUTTERS
810(1)
Ben Jonson,
ON MY FIRST SON
811(1)
Donald Justice,
COUNTING THE MAD
811(1)
John Keats,
ODE ON A GRECIAN URN
812(2)
John Keats,
ON FIRST LOOKING INTO CHAPMAN'S HOMER
814(1)
Philip Larkin,
HOME IS SO SAD
815(1)
Irving Layton,
THE BULL CALF
816(1)
Adrian Louis,
LOOKING FOR JUDAS
817(1)
Robert Lowell,
SKUNK HOUR
817(2)
Andrew Marvell,
TO HIS COY MISTRESS
819(1)
Edna St. Vincent Millay,
RECUERDO
820(1)
John Milton,
WHEN I CONSIDER HOW MY LIGHT IS SPENT
821(1)
Marianne Moore,
POETRY
822(1)
Marilyn Nelson,
A STRANGE BEAUTIFUL WOMAN
823(1)
Howard Nemerov,
THE WAR IN THE AIR
824(1)
Lorine Niedecker,
SORROW MOVES IN WIDE WAVES
825(1)
Yone Noguchi,
A SELECTION OF HOKKU
826(1)
Sharon Olds,
THE ONE GIRL AT THE BOYS' PARTY
827(1)
Wilfred Owen,
ANTHEM FOR DOOMED YOUTH
828(1)
Linda Pastan,
ETHICS
829(1)
Sylvia Plath,
DADDY
830(2)
Edgar Allan Poe,
A DREAM WITHIN A DREAM
832(1)
Alexander Pope,
A LITTLE LEARNING IS A DANG'ROUS THING
833(1)
Ezra Pound,
THE RIVER-MERCHANT'S WIFE: A LETTER
834(1)
Dudley Randall,
A DIFFERENT IMAGE
835(1)
Henry Reed,
NAMING OF PARTS
835(1)
Adrienne Rich,
LIVING IN SIN
836(1)
Edwin Arlington Robinson,
MINIVER CHEEVY
837(2)
Theodore Roethke,
ELEGY FOR JANE
839(1)
William Shakespeare,
WHEN, IN DISGRACE WITH FORTUNE AND MEN'S EYES
840(1)
William Shakespeare,
THAT TIME OF YEAR THOU MAYST IN ME BEHOLD
841(1)
William Shakespeare,
MY MISTRESS' EYES ARE NOTHING LIKE THE SUN
841(1)
Louis Simpson,
AMERICAN POETRY
842(1)
David R. Slavitt,
TITANIC
842(1)
Cathy Song,
STAMP COLLECTING
843(1)
William Stafford,
THE FARM ON THE GREAT PLAINS
844(1)
Wallace Stevens,
THE EMPEROR OF ICE-CREAM
845(1)
Alfred, Lord Tennyson,
ULYSSES
846(2)
Dylan Thomas,
FERN HILL
848(2)
John Updike,
EX-BASKETBALL PLAYER
850(1)
Amy Uyematsu,
THE TEN MILLION FLAMES OF LOS ANGELES
851(2)
Derek Walcott,
THE VIRGINS
853(1)
Edmund Waller,
GO, LOVELY ROSE
854(1)
Walt Whitman,
I HEAR AMERICA SINGING
855(1)
Richard Wilbur,
THE WRITER
856(1)
William Carlos Williams,
SPRING AND ALL
857(1)
William Carlos Williams,
TO WAKEN AN OLD LADY
858(1)
William Wordsworth,
COMPOSED UPON WESTMINSTER BRIDGE
859(1)
James Wright,
AUTUMN BEGINS IN MARTINS FERRY, OHIO
860(1)
Mary Sidney Wroth,
IN THIS STRANGE LABYRINTH
860(1)
Sir Thomas Wyatt,
THEY FLEE FROM ME THAT SOMETIME DID MESEKE
861(1)
William Butler Yeats,
CRAZY JANE TALKS WITH THE BISHOP
862(1)
William Butler Yeats,
WHEN YOU ARE OLD
863(2)
DRAMA 865(1)
29 Reading a Play
869(544)
A PLAY IN ITS ELEMENTS
871(16)
Susan Glaspell,
TRIFLES
871(1)
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 AND COMEDY
887(8)
Jane Martin,
BEAUTY
890(1)
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
895(1)
WRITING CRITICALLY
Conflict Resolution
896(1)
WRITING ASSIGNMENT
897(1)
STUDENT ESSAY
Outside Trifles
897(5)
FURTHER SUGGESTIONS FOR WRITING
902(1)
30 Critical Casebook: Sophocles
903(7)
THE THEATER OF SOPHOCLES
903(1)
STAGING
903(4)
THE CIVIC ROLE OF GREEK DRAMA
907(1)
ARISTOTLE'S CONCEPT OF TRAGEDY
908(2)
SOPHOCLES
910(76)
PLAY
THE ORIGINS OF OEDIPUS THE KING
910(1)
Sophocles,
OEDIPUS THE KING (Translated by Robert Fagles)
911(1)
"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?"
ROBERT FITZGERALD ON SOPHOCLES
Robert Fitzgerald,
TRANSLATING SOPHOCLES
980(1)
CRITICS ON SOPHOCLES
Aristotle,
DEFINING TRAGEDY
981(2)
Sigmund Freud,
THE DESTINY OF OEDIPUS
983(1)
E.R. Dodds,
ON MISUNDERSTANDING OEDIPUS
984(1)
A.E. Haigh,
THE IRONY OF SOPHOCLES
985(1)
WRITING CRITICALLY
Some Things Change, Some Things Don't
986(1)
WRITING ASSIGNMENT
987(1)
FURTHER SUGGESTIONS FOR WRITING
987(1)
31 Critical Casebook: Shakespeare
988(2)
THE THEATER OF SHAKESPEARE
988(2)
WILLIAM SHAKESPEARE
990(102)
PLAY
A NOTE ON OTHELLO
990(1)
William Shakespeare,
OTHELLO, THE MOOR OF VENICE
991(1)
Here is a story of jealousy, that "green-eyed monster which doth mock/The meat it feeds on"-of a passionate, suspicious man and his blameless wife, of a serpent masked as a friend.
BEN JONSON ON SHAKESPEARE
Ben Jonson,
ON HIS FRIEND AND RIVAL WILLIAM SHAKESPEARE
1092(1)
CRITICS ON SHAKESPEARE
W.H. Auden,
IAGO AS A TRIUMPHANT VILLAIN
1093(1)
Maud Bodkin,
LUCIFER IN SHAKESPEARE'S OTHELLO
1093(1)
Virginia Mason Vaughan,
BLACK AND WHITE IN OTHELLO
1094(1)
Anthony Burgess,
AN ALAN CULTURE LOOKS AT SHAKESPEARE
1094(2)
WRITING CRITICALLY
Breaking the Language Barrier
1096(1)
WRITING ASSIGNMENT
1096(1)
STUDENT ESSAY
Othello: Tragedy or Soap Opera?
1097(5)
FURTHER SUGGESTIONS FOR WRITING
1102(1)
32 The Modern Theater
1103(1)
REALISM AND NATURALISM
1103(61)
Henrik Ibsen, A DOLI's HOUSE (Translated by James McFarlane)
1106(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
1164(1)
TRAGICOMEDY AND THE ABSURD
1165(17)
Milcha Sanchez-Scott,
THE CUBAN SWIMMER
1167(1)
Nineteen-year-old Margarita Suarez 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
1182(1)
WRITING CRITICALLY
What's So Realistic About Realism?
1183(1)
WRITING ASSIGNMENT
1184(1)
STUDENT ESSAY
Helmer vs. Helmer
1185(3)
FURTHER SUGGESTIONS FOR WRITING
1188(1)
33 Evaluating a Play
1189(1)
WRITING CRITICALLY
Critical Performance
1190(1)
WRITING ASSIGNMENT
1191(1)
FURTHER SUGGESTIONS FOR WRITING
1191(2)
34 Plays for Further Reading
1193(73)
Arthur Miller,
DEATH OF A SALESMAN
1194(1)
Willy Loman has bright dreams for himself and his two sons, but 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
1266(3)
Tennessee Williams,
THE GLASS MENAGERIE
1269(1)
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
1320(3)
35 New Voices in American Drama
1323(1)
Beth Henley,
AM I BLUE
1323(1)
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
1340(1)
David Henry Hwang,
THE SOUND OF A VOICE
1341(1)
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
1356(1)
Terrence McNally,
ANDRE'S MOTHER
1357(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
1360(1)
August Wilson,
JOE TURNER'S COME AND GONE
1361(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
1411(2)
WRITING 1413(1)
36 Writing About Literature
1415
BEGINNING
1415(1)
KEEPING A JOURNAL
1416(1)
USING CRITICAL SOURCES AND
MAINTAINING ACADEMIC INTEGRITY
1417(1)
DISCOVERING ESSAY IDEAS
1417(3)
DRAFTING AND REVISING, OR CREATIVITY VS. ANALYSIS
1420(2)
THE FORM OF YOUR FINISHED PAPER
1422(1)
USING SPELL-CHECK AND GRAMMER-CHECK PROGRAMS
1423(2)
Anonymous (after a poem by Jerrold H. Zar),
A LITTLE POEM REGARDING COMPUTER SPELL CHECKERS
1424(1)
37 Writing About a Story
1425(18)
EXPLICATING
1425(5)
Sample Student Essay (Explication)
1427(3)
ANALYZING
1430(7)
Sample Student Essay (Analysis)
1431(4)
Sample Student Card Report
1435(2)
COMPARING AND CONTRASTING
1437(1)
SUGGESTIONS FOR WRITING
1438(3)
38 Writing About a Poem
1441(1)
EXPLICATING
1442(5)
Robert Frost,
DESIGN
1443(1)
Sample Student Essay (Explication)
1443(4)
ANALYZING
1447(3)
Sample Student Essay (Analysis)
1448(2)
COMPARING AND CONTRASTING
1450(4)
Abbie Huston Evans,
WING-SPREAD
1451(1)
Sample Student Essay (Comparison)
1452(2)
HOW TO QUOTE A POEM
1454(2)
BEFORE YOU BEGIN
1456(1)
SUGGESTIONS FOR WRITING
1457(4)
Robert Frost,
IN WHITE (early draft of "DESIGN")
1459(2)
39 Writing About a Play
1461(37)
METHODS
1461(2)
HOW TO QUOTE A PLAY
1463(1)
REVIEWING A PLAY
1464(2)
Sample Student Drama Review
1465(1)
SUGGESTIONS FOR WRITING
1466(3)
40 Writing a Research Paper
1469(1)
DOING RESEARCH FOR AN ESSAY
1469(2)
EVALUATING AND USING INTERNET SOURCES
1471(3)
GUARDING ACADEMIC INTEGRITY
1474(1)
ACKNOWLEDGING AND DOCUMENTING SOURCES
1474(9)
CONCLUDING THOUGHTS
1483(1)
WRITING ASSIGNMENT-RESEARCH PAPER
1483(1)
STUDENT RESEARCH PAPER
Kafka's Greatness
1484(6)
REFERENCE GUIDE FOR CITATIONS
1490(7)
41 Critical Approaches to Literature
1497(1)
FORMALIST CRITICISM
1498(2)
Cleanth Brooks,
THE FORMALIST CRITIC
1498(1)
Michael Clark,
LIGHT AND DARKNESS IN "SONNY'S BLUES"
1499(1)
BIOGRAPHICAL CRITICISM
1500(3)
Brett C. Millier,
ON ELIZABETH BISHOP'S "ONE ART"
1501(1)
Emily Toth,
THE SOURCE FOR ALCÉE LABALLIÈRE IN "THE STORM"
1502(1)
HISTORICAL CRITICISM
1503(5)
Hugh Kenner,
IMAGISM
1504(2)
Barbara T. Christian,
"EVERYDAY USE" AND THE BLACK POWER MOVEMENT
1506(2)
PSYCHOLOGICAL CRITICISM
1508(3)
Sigmund Freud,
THE NATURE OF DREAMS
1509(1)
Harold Bloom,
POETIC INFLUENCE
1510(1)
MYTHOLOGICAL CRITICISM
1511(3)
C.G. Jung,
THE COLLECTIVE UNCONSCIOUS AND ARCHETYPES
1511(1)
Edmond Volpe,
MYTH IN FAULKNER'S "BARN BURNING"
1512(2)
SOCIOLOGICAL CRITICISM
1514(3)
Georg Lukacs,
CONTENT DETERMINES FORM
1515(1)
Daniel P. Watkins,
MONEY AND LABOR IN "THE ROCKING-HORSE WINNER"
1516(1)
GENDER CRITICISM
1517(3)
Elaine Showalter,
TOWARD A FEMINIST POETICS
1518(1)
Juliann Fleenor,
GENDER AND PATHOLOGY IN "THE YELLOW WALLPAPER"
1519(1)
READER-RESPONSE CRITICISM
1520(3)
Stanley Fish,
AN ESKIMO "A ROSE FOR EMILY"
1521(1)
Michael J. Colacurcio,
THE END OF YOUNG GOODMAN BROWN
1522(1)
DECONSTRUCTIONIST CRITICISM
1523(4)
Roland Barthes,
THE DEATH OF THE AUTHOR
1524(1)
Geoffrey Hartman,
ON WORDSWORTH'S "A SLUMBER DID MY SPIRIT SEAL"
1525(2)
CULTURAL STUDIES
1527
Vincent B. Leitch,
POSTSTRUCIURALIST CULTURAL CRITIQUE
1528(1)
Mark Bauerlein,
WHAT IS CULTURAL STUDIES?
1529
Glossary of Literary Terms G1
Literary Acknowledgments A1
Photo Acknowledgments A13
Index of Authors and Titles I1
Index of Literary Terms (last page)
List of Authors
(inside fron


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