Preface |
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xxxix | |
Part I Composing: An Overview |
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1 | (98) |
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2 | (15) |
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2 | (4) |
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3 | (3) |
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6 | (1) |
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6 | (1) |
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7 | (1) |
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7 | (1) |
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8 | (1) |
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Reading and Thinking Critically |
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8 | (1) |
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Discovering and Developing Ideas |
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9 | (3) |
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10 | (1) |
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11 | (1) |
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11 | (1) |
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Sample Student Prewriting: Directed Freewriting |
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12 | (1) |
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13 | (1) |
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What Point Should I Make? |
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13 | (1) |
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Sample Student Prewriting: Clustering |
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14 | (3) |
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Relating a Part to the Whole |
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15 | (1) |
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15 | (1) |
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16 | (1) |
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17 | (13) |
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How Should I Organize My Ideas? |
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17 | (1) |
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Arguing Your Interpretation |
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17 | (4) |
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The Elements of Good Argument |
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18 | (1) |
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Building an Effective Argument |
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19 | (1) |
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20 | (1) |
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21 | (1) |
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Questions for Consideration |
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21 | (1) |
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Maintaining a Critical Focus |
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22 | (1) |
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Distinguishing Critical Comments from Plot Details |
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22 | (1) |
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23 | (1) |
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Postpone If Nothing Comes |
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23 | (1) |
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Write an Appealing Opening |
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23 | (1) |
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23 | (1) |
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24 | (1) |
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Relate the Discussion to Theme |
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24 | (1) |
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24 | (1) |
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Write an Emphatic Final Sentence |
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25 | (1) |
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Composing the First Draft |
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25 | (1) |
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25 | (1) |
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Quoting from Your Sources |
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26 | (1) |
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Sample Student Paper: First Draft |
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26 | (4) |
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3 Writing a Convincing Argument |
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30 | (16) |
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30 | (6) |
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31 | (1) |
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32 | (1) |
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33 | (1) |
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34 | (1) |
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35 | (1) |
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36 | (4) |
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Using the Inductive Approach |
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36 | (2) |
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38 | (1) |
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Arguing through Comparison |
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38 | (2) |
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Sample Student Paper: An Argument |
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40 | (3) |
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Dagoberto Gilb, Love in L.A. |
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43 | (3) |
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46 | (22) |
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46 | (1) |
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Getting Feedback: Peer Review |
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47 | (2) |
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47 | (2) |
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What Should I Add or Take Out? |
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49 | (1) |
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Outlining After the First Draft |
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49 | (1) |
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49 | (1) |
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50 | (1) |
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Sample Student Work: After-Writing Outline |
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50 | (2) |
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Examining the Sample Outline |
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51 | (1) |
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52 | (1) |
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53 | (2) |
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55 | (2) |
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Combining for Conciseness |
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56 | (1) |
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Rearranging for Emphasis and Variety |
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57 | (1) |
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57 | (1) |
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Which Words Should I Change? |
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58 | (4) |
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58 | (1) |
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Use Active Voice Most of the Time |
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59 | (1) |
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Use Passive Voice If Appropriate |
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59 | (1) |
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60 | (1) |
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61 | (1) |
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61 | (1) |
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62 | (2) |
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62 | (1) |
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Look for Your Typical Errors |
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63 | (1) |
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63 | (1) |
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63 | (1) |
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Sample Student Paper: Final Draft |
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64 | (4) |
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68 | (31) |
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Using Library Sources in Your Writing |
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68 | (1) |
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69 | (4) |
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70 | (1) |
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70 | (1) |
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Using Indexes and Databases |
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70 | (1) |
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71 | (1) |
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Evaluating Online Sources |
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72 | (1) |
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Using Reference Works in Print |
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73 | (1) |
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73 | (2) |
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73 | (1) |
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Using a Research Notebook |
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74 | (1) |
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Using the Printout/Photocopy Option |
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74 | (1) |
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Summarizing, Paraphrasing, and Quoting |
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74 | (1) |
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Sample Student Entry in a Divided-Page Notebook |
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75 | (2) |
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Devising a Working Outline |
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76 | (1) |
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77 | (5) |
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77 | (1) |
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Using Quotations and Paraphrases |
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78 | (1) |
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78 | (1) |
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79 | (1) |
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Quoting from Primary Sources |
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80 | (1) |
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81 | (1) |
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82 | (1) |
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82 | (1) |
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82 | (1) |
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82 | (1) |
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Sample Student Paper in MLA Style |
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83 | (4) |
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87 | (3) |
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Explanation of the MLA Documentation Style |
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90 | (2) |
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90 | (1) |
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Preparing the List of Works Cited |
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91 | (1) |
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Sample Entries for a List of Works Cited |
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92 | (8) |
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Citing Print Publications |
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92 | (3) |
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Citing Online Publications |
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95 | (1) |
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Citing Other Common Sources |
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96 | (3) |
Part II Writing About Short Fiction |
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99 | (294) |
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6 How Do I Read Short Fiction? |
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100 | (6) |
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100 | (1) |
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Consider Point of View and Setting |
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101 | (1) |
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102 | (1) |
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102 | (1) |
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Look for Specialized Literary Techniques |
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103 | (1) |
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103 | (1) |
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Investigate the Author's Life and Times |
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103 | (1) |
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Continue Questioning to Discover Theme |
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104 | (2) |
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7 Writing About Structure |
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106 | (18) |
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106 | (1) |
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How Do I Discover Structure? |
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107 | (1) |
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107 | (13) |
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Tim O'Brien, The Things They Carried |
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108 | (12) |
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120 | (4) |
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120 | (1) |
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120 | (1) |
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Relating Details to Theme |
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121 | (1) |
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121 | (1) |
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Ideas for Reflective Writing |
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121 | (1) |
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Ideas for Critical Writing |
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121 | (1) |
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Ideas for Researched Writing |
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122 | (1) |
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122 | (1) |
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122 | (3) |
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Integrating Quotations Gracefully |
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122 | (2) |
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8 Writing About Imagery and Symbolism |
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124 | (22) |
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124 | (1) |
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125 | (1) |
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125 | (1) |
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Phallic and Yonic Symbols |
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125 | (1) |
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How Will I Recognize Symbols? |
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126 | (1) |
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Reference Works on Symbols |
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126 | (1) |
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Looking at Images and Symbols |
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126 | (7) |
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Shirley Jackson, The Lottery |
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127 | (6) |
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133 | (4) |
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133 | (1) |
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133 | (1) |
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134 | (1) |
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Producing a Workable Thesis |
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134 | (1) |
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134 | (2) |
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Ideas for Reflective Writing |
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134 | (1) |
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Ideas for Critical Writing |
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135 | (1) |
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Ideas for Researched Writing |
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135 | (1) |
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135 | (1) |
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136 | (10) |
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Sharpening the Introduction |
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136 | (1) |
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Sample Student Paper on Symbolism: Second and Final Drafts |
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137 | (9) |
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9 Writing About Point of View |
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146 | (13) |
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146 | (2) |
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147 | (1) |
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148 | (8) |
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Alice Walker, Everyday Use |
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148 | (8) |
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156 | (3) |
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156 | (1) |
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156 | (1) |
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Relating Point of View to Theme |
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156 | (1) |
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157 | (1) |
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Ideas for Reflective Writing |
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157 | (1) |
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Ideas for Critical Writing |
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157 | (1) |
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Ideas for Researched Writing |
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157 | (1) |
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158 | (1) |
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158 | (2) |
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Techniques for Sharpening the Conclusion |
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158 | (1) |
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10 Writing About Setting and Atmosphere |
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159 | (17) |
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What Are Setting and Atmosphere? |
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159 | (1) |
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Looking at Setting and Atmosphere |
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160 | (11) |
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Tobias Wolff, Hunters in the Snow |
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160 | (11) |
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171 | (5) |
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171 | (1) |
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171 | (1) |
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Discovering an Organization |
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172 | (1) |
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172 | (1) |
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Ideas for Reflective Writing |
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172 | (1) |
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Ideas for Critical Writing |
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172 | (1) |
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Ideas for Researched Writing |
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173 | (1) |
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173 | (1) |
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173 | (4) |
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Checking Your Organization |
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173 | (1) |
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Improving the Style: Balanced Sentences |
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174 | (2) |
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176 | (17) |
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176 | (1) |
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177 | (11) |
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Flannery O'Connor, A Good Man Is Hard to Find |
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177 | (11) |
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188 | (5) |
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188 | (1) |
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189 | (1) |
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Choosing Supporting Details |
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189 | (1) |
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189 | (2) |
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Ideas for Reflective Writing |
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189 | (1) |
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Ideas for Critical Writing |
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190 | (1) |
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Ideas for Researched Writing |
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190 | (1) |
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190 | (1) |
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191 | (1) |
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191 | (1) |
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191 | (2) |
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Repeat Words and Synonyms |
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191 | (1) |
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192 | (1) |
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12 Critical Casebook: Joyce Carol Oates's "Where Are You Going, Where Have You Been?" |
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193 | (17) |
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Joyce Carol Oates, Where Are You Going, Where Have You Been? |
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193 | (12) |
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205 | (1) |
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Four Critical Interpretations |
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205 | (5) |
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Topics for Discussion and Writing |
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208 | (1) |
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Ideas for Researched Writing |
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208 | (1) |
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209 | (1) |
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13 Anthology of Short Fiction |
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210 | (121) |
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Nathaniel Hawthorne, The Birthmark |
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210 | (11) |
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Edgar Allan Poe, The Cask of Amontillado |
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221 | (6) |
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Sarah Orne Jewett, A White Heron |
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227 | (7) |
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Kate Chopin, The Story of an Hour |
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234 | (2) |
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Charlotte Perkins Gilman, The Yellow Wallpaper |
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236 | (12) |
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248 | (4) |
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Katherine Anne Porter, The Grave |
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252 | (4) |
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Zora Neale Hurston, "Spunk |
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256 | (5) |
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William Faulkner, Barn Burning |
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261 | (13) |
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Ernest Hemingway, Hills Like White Elephants |
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274 | (4) |
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Arna Bontemps, A Summer Tragedy |
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278 | (6) |
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Tillie Olsen, I Stand Here Ironing |
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284 | (6) |
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Hisaye Yamamoto, Seventeen Syllables |
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290 | (10) |
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Rosario Morales, The Day It Happened |
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300 | (3) |
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Raymond Carver, What We Talk About When We Talk About Love |
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303 | (9) |
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T. Coraghessan Boyle, The Love of My Lift |
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312 | (12) |
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Louise Erdrich, The Red Convertible |
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324 | (7) |
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14 A Portfolio of Science Fiction Stories |
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331 | (24) |
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Ray Bradbury, There Will Come Soft Rains |
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332 | (4) |
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Ursula K. Le GuM, The Ones Who Walk Away from Omelas |
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336 | (5) |
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Octavia E. Ruder, Speech Sounds |
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341 | (10) |
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351 | (1) |
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Sample Student Paper: Comparing Dystopias |
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351 | (4) |
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15 A Portfolio of Humorous and Satirical Stories |
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355 | (16) |
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H.H. Munro ("Said"), The Open Window |
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355 | (3) |
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358 | (5) |
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Margaret Atwood, Happy Endings |
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363 | (3) |
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366 | (5) |
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370 | (1) |
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16 A Portfolio of Stories about Singular Women |
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371 | (22) |
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Katherine Mansfield, Miss Brill |
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371 | (4) |
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John Steinbeck, The Chrysanthemums |
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375 | (9) |
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Eudora Welty, A Worn Path |
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384 | (6) |
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Katherine MM, Secondhand World |
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390 | (4) |
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392 | (1) |
Part III Writing About Poetry |
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393 | (232) |
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394 | (4) |
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Get the Literal Meaning First: Paraphrase |
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394 | (1) |
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Make Associations for Meaning |
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395 | (3) |
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18 Writing About Persona and Tone |
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398 | (17) |
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398 | (1) |
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399 | (1) |
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399 | (1) |
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399 | (1) |
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Looking at Persona and Tone |
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400 | (5) |
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Theodore Roethke, My Papa's Waltz |
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400 | (1) |
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W.D. Ehrhart, Sins of the Father |
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401 | (1) |
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Thomas Hardy, The Ruined Maid |
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402 | (1) |
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W.H. Auden, The Unknown Citizen |
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403 | (1) |
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Edmund Waller, Go, Lovely Rose |
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404 | (1) |
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405 | (7) |
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405 | (4) |
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Asking Questions About the Speaker in "My Papa's Waltz" |
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405 | (1) |
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406 | (2) |
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408 | (1) |
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408 | (1) |
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409 | (1) |
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Explicating and Analyzing |
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409 | (1) |
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410 | (1) |
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Ideas for Reflective Writing |
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410 | (1) |
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Ideas for Critical Writing |
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410 | (1) |
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Ideas for Researched Writing |
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411 | (1) |
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411 | (1) |
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411 | (1) |
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411 | (1) |
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Sample Student Paper: Persona and Tone |
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412 | (3) |
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Analyzing the Student's Reflection |
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414 | (1) |
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19 Writing About Poetic Language |
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415 | (17) |
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What Do the Words Suggest? |
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415 | (3) |
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Connotation and Denotation |
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415 | (1) |
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416 | (1) |
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416 | (1) |
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417 | (1) |
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417 | (1) |
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417 | (1) |
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418 | (1) |
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418 | (1) |
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Looking at Poetic Language |
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418 | (5) |
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418 | (1) |
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Walt Whitman, A Noiseless Patient Spider |
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419 | (1) |
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William Shakespeare, Shall I Compare Thee to a Summer's Day? |
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420 | (1) |
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420 | (1) |
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Hayden Carruth, In the Long Hall |
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421 | (1) |
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Donald Hall, My Son My Executioner |
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422 | (1) |
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423 | (2) |
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423 | (1) |
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423 | (1) |
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Comparing and Contrasting |
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423 | (1) |
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424 | (1) |
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Ideas for Reflective Writing |
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424 | (1) |
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Ideas for Critical Writing |
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424 | (1) |
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Ideas for Researched Writing |
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424 | (1) |
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425 | (1) |
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425 | (7) |
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Choosing Vivid, Descriptive Terms |
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425 | (1) |
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Sample Student Paper: Persona and Tone |
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425 | (7) |
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20 Writing About Poetic Form |
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432 | (23) |
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What Are the Forms of Poetry? |
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432 | (4) |
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432 | (2) |
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Alliteration, Assonance, and Consonance |
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434 | (1) |
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Stanzas: Closed and Open Form |
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434 | (2) |
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436 | (1) |
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436 | (1) |
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Looking at the Forms of Poetry |
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436 | (6) |
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Gwendolyn Brooks, We Real Cool |
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437 | (1) |
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A.E. Housman, Eight O'Clock |
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438 | (1) |
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E.E. Cummings, anyone lived in a pretty how town |
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438 | (1) |
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Robert Frost, The Silken Tent |
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439 | (1) |
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440 | (1) |
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David Shumate, A Hundred Years from Now |
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440 | (1) |
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441 | (1) |
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442 | (5) |
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442 | (1) |
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443 | (1) |
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443 | (1) |
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443 | (2) |
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Ideas for Expressive Writing |
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443 | (1) |
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Ideas for Critical Writing |
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444 | (1) |
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Ideas for Researched Writing |
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445 | (1) |
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445 | (1) |
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445 | (12) |
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445 | (2) |
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Sample Student Paper: Poetic Form |
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447 | (4) |
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Sample Published Essay: Poetic Form |
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451 | (4) |
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21 Critical Casebook: The Poetry of Langston Hughes |
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455 | (12) |
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Langston Hughes: A Brief Biography |
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455 | (2) |
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457 | (5) |
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The Negro Speaks of Rivers |
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457 | (1) |
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458 | (1) |
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458 | (1) |
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459 | (1) |
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Harlem (A Dream Deferred) |
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460 | (1) |
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460 | (2) |
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462 | (4) |
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Arnold Rampersad, On the Persona in "The Negro Speaks of Rivers" |
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462 | (1) |
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Margaret Larkin, A Poet for the People |
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463 | (1) |
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Karen Jackson Ford, Do Right to Write Right: Langston Hughes's Aesthetics of Simplicity |
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463 | (1) |
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Peter Townsend, Jazz and Langston Hughes's Poetry |
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464 | (1) |
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Langston Hughes, Harlem Rent Parties |
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465 | (1) |
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Ideas for Writing About Langston Hughes |
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466 | (1) |
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Ideas for Researched Writing |
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466 | (1) |
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466 | (1) |
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467 | (18) |
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Poetic Interpretations of Art |
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467 | (2) |
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Lisel Mueller, American Literature |
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467 | (2) |
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Edward Hopper, Nighthawks |
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469 | (2) |
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Samuel Yellen, Nighthawks |
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469 | (1) |
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Susan Ludvigson, Inventing My Parents |
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470 | (1) |
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Peter Brueghel the Elder, Landscape with the Fall of Icarus |
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471 | (1) |
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W.H. Auden, Musee des Beaux Arts |
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471 | (1) |
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Paolo Uccello, St. George and the Dragon |
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472 | (1) |
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U.A. Fanthorpe, Not My Best Side |
|
|
472 | (1) |
|
Vincent Van Gogh, The Starry Night |
|
|
473 | (1) |
|
Anne Sexton, The Starry Night |
|
|
473 | (1) |
|
Henri Matisse, The Red Studio |
|
|
474 | (2) |
|
W.D. Snodgrass, Matisse: The Red Studio' |
|
|
474 | (2) |
|
Kitagawa Utamaro, Two Women Fixing Their Hair |
|
|
476 | (1) |
|
Cathy Song, Beauty and Sadness |
|
|
476 | (1) |
|
|
477 | (4) |
|
|
477 | (4) |
|
Poetry and Art: Ideas for Writing |
|
|
481 | (1) |
|
|
482 | (1) |
|
Sample Student Paper: Reflection on Poetry and Art |
|
|
482 | (3) |
|
|
484 | (1) |
|
|
485 | (86) |
|
Thomas Wyatt, They Flee from Me |
|
|
485 | (1) |
|
|
486 | (3) |
|
When in Disgrace with Fortune and Men's Eyes |
|
|
486 | (1) |
|
Let Me Not to the Marriage of True Minds |
|
|
487 | (1) |
|
That Time of Year Thou Mayst in Me Behold |
|
|
488 | (1) |
|
My Mistress' Eyes Are Nothing Like the Sun |
|
|
488 | (1) |
|
|
489 | (3) |
|
|
489 | (1) |
|
|
490 | (1) |
|
A Valediction: Forbidding Mourning |
|
|
491 | (1) |
|
Andrew Marvell, To His Coy Mistress |
|
|
492 | (2) |
|
|
494 | (3) |
|
|
494 | (1) |
|
|
495 | (1) |
|
|
496 | (1) |
|
|
497 | (2) |
|
The World Is Too Much with Us |
|
|
497 | (1) |
|
I Wandered Lonely as a Cloud |
|
|
498 | (1) |
|
George Gordon, Lord Byron, She Walks in Beauty |
|
|
499 | (1) |
|
Percy Bysshe Shelley, Ozymandias |
|
|
500 | (1) |
|
John Keats, Ode on a Grecian Urn |
|
|
501 | (1) |
|
Alfred, Lord Tennyson, Ulysses |
|
|
502 | (3) |
|
|
505 | (1) |
|
When I Heard the Learn'd Astronomer |
|
|
505 | (1) |
|
Song of Myself (Section 11) |
|
|
505 | (1) |
|
Matthew Arnold, Dover Beach |
|
|
506 | (2) |
|
|
508 | (4) |
|
Faith Is a Fine Invention |
|
|
508 | (1) |
|
|
508 | (1) |
|
Much Madness Is Divinest Sense |
|
|
509 | (1) |
|
Because I Could Not Stop for Death |
|
|
510 | (1) |
|
Some Keep the Sabbath Going to Church |
|
|
511 | (1) |
|
|
511 | (1) |
|
Christina Rossetti, In an Artist's Studio |
|
|
512 | (1) |
|
|
513 | (2) |
|
|
513 | (1) |
|
|
514 | (1) |
|
|
515 | (1) |
|
To an Athlete Dying Young |
|
|
515 | (1) |
|
|
516 | (1) |
|
|
516 | (3) |
|
|
517 | (1) |
|
|
518 | (1) |
|
|
519 | (2) |
|
|
519 | (1) |
|
|
520 | (1) |
|
Paul Laurence Dunbar, We Wear the Mask |
|
|
521 | (1) |
|
|
522 | (5) |
|
|
522 | (1) |
|
|
523 | (2) |
|
|
525 | (1) |
|
|
526 | (1) |
|
|
527 | (1) |
|
|
527 | (2) |
|
|
527 | (1) |
|
|
528 | (1) |
|
Mina Loy, Moreover, the Moon |
|
|
529 | (1) |
|
|
530 | (2) |
|
|
530 | (1) |
|
|
531 | (1) |
|
|
532 | (1) |
|
T.S. Eliot, The Love Song of j. Alfred Prufrock |
|
|
533 | (4) |
|
|
537 | (1) |
|
Oh, Oh, You Will Be Sorry for That Word |
|
|
537 | (1) |
|
|
537 | (1) |
|
|
538 | (2) |
|
|
538 | (1) |
|
pity this busy monster, manunkind |
|
|
539 | (1) |
|
Stevie Smith, Not Waving but Drowning |
|
|
540 | (1) |
|
W.H. Auden, Funeral Blues |
|
|
541 | (1) |
|
Elizabeth Bishop, One Art |
|
|
542 | (1) |
|
|
543 | (1) |
|
|
544 | (1) |
|
|
545 | (2) |
|
|
546 | (1) |
|
|
547 | (1) |
|
William Stafford, Traveling Through the Dark |
|
|
547 | (1) |
|
Dylan Thomas, Do Not Go Gentle into That Good Night |
|
|
548 | (2) |
|
|
550 | (1) |
|
Lisel Mueller, Losing My Sight |
|
|
551 | (1) |
|
|
552 | (2) |
|
Frank O'Hara, Having a Coke with You |
|
|
554 | (1) |
|
David Wagoner, The Escaped Gorilla |
|
|
555 | (1) |
|
Anne Sexton, You All Know the Story of the Other Woman |
|
|
556 | (1) |
|
Adrienne Rich, Aunt Jennifer's Tigers |
|
|
557 | (1) |
|
Ruth Fainlight, Flower Feet |
|
|
558 | (2) |
|
Marge Piercy, Barbie Doll |
|
|
560 | (1) |
|
|
561 | (2) |
|
|
561 | (1) |
|
The Death of Marilyn Monroe |
|
|
562 | (1) |
|
|
563 | (1) |
|
Jimmy Santiago Baca, There Are Black |
|
|
564 | (2) |
|
Judith Ortiz Cofer, Latin Women Pray |
|
|
566 | (1) |
|
Cornelius Eady, The Supremes |
|
|
567 | (2) |
|
|
569 | (2) |
|
24 Paired Poems for Comparison |
|
|
571 | (19) |
|
Christopher Marlowe, The Passionate Shepherd to His Love |
|
|
571 | (1) |
|
Sir Walter Raleigh, The Nymph's Reply to the Shepherd |
|
|
572 | (2) |
|
Robert Browning, My Last Duchess |
|
|
574 | (1) |
|
Gabriel Spera, My Ex-Husband |
|
|
575 | (3) |
|
Walt Whitman, Of the Terrible Doubt of Appearances |
|
|
578 | (1) |
|
Tony Hoagland, Romantic Moment |
|
|
579 | (2) |
|
Edwin Arlington Robinson, Richard Cory |
|
|
581 | (1) |
|
|
582 | (2) |
|
Robert Hayden, Those Winter Sundays |
|
|
584 | (1) |
|
George Bilgere, Like Riding a Bicycle |
|
|
585 | (2) |
|
Gwendolyn Brooks, The Bean Eaters |
|
|
587 | (1) |
|
Katha Pollitt, The Old Neighbors |
|
|
587 | (3) |
|
25 A Portfolio of Poems About Work |
|
|
590 | (11) |
|
|
590 | (1) |
|
John Updike, Ex-Basketball Player |
|
|
591 | (2) |
|
Marge Piercy, To Be of Use |
|
|
593 | (1) |
|
Alberto Rios, In Second Grade Miss Lee I Promised Never to Forget You and I Never Did |
|
|
594 | (1) |
|
Dorianne Laux, What I Wouldn't Do |
|
|
595 | (1) |
|
Lynn Powell, Acceptance Speech |
|
|
596 | (2) |
|
Stephen Cushman, Beside the Point |
|
|
598 | (1) |
|
Nancy A. Henry, People Who Take Care |
|
|
599 | (2) |
|
|
600 | (1) |
|
26 A Portfolio of War Poetry |
|
|
601 | (13) |
|
Richard Lovelace, To Lucasta, on Going to the Wars |
|
|
601 | (1) |
|
Stephen Crane, War Is Kind |
|
|
602 | (1) |
|
|
603 | (3) |
|
Wilfred Owen, Duke et Decorum Est |
|
|
606 | (1) |
|
Mitsuye Yamada, To the Lady |
|
|
607 | (2) |
|
Peg Lauber, Six National Guardsmen Blown Up Together |
|
|
609 | (2) |
|
Yusef Komunyakaa, Facing It |
|
|
611 | (3) |
|
|
613 | (1) |
|
27 A Portfolio of Humorous and Satirical Poetry |
|
|
614 | (11) |
|
|
614 | (1) |
|
Ron Koertge, Cinderella's Diary |
|
|
615 | (1) |
|
Billy Collins, Introduction to Poetry |
|
|
616 | (1) |
|
Andrea Carlisle, Emily Dickinson's To-Do List |
|
|
617 | (2) |
|
Craig Raine, A Martian Sends a Postcard Home |
|
|
619 | (1) |
|
Jan Beatty, A Waitress's Instructions on Tipping or Get the Cash Up and Don't Waste My Time |
|
|
620 | (1) |
|
Jeanne Marie Beaumont, Afraid So |
|
|
621 | (2) |
|
Peter Pereira, Reconsidering the Seven |
|
|
623 | (3) |
|
|
624 | (1) |
Part IV Writing About Drama |
|
625 | (268) |
|
|
626 | (5) |
|
|
626 | (1) |
|
|
627 | (1) |
|
|
628 | (1) |
|
|
629 | (2) |
|
29 Writing About Dramatic Structure |
|
|
631 | (44) |
|
What Is Dramatic Structure? |
|
|
631 | (1) |
|
Looking at Dramatic Structure |
|
|
632 | (32) |
|
|
633 | (31) |
|
|
664 | (6) |
|
|
664 | (1) |
|
|
665 | (2) |
|
Discovering a Workable Argumentative Thesis |
|
|
665 | (1) |
|
|
666 | (1) |
|
|
667 | (1) |
|
Ideas for Reflective Writing |
|
|
667 | (1) |
|
Ideas for Critical Writing |
|
|
668 | (1) |
|
Ideas for Researched Writing |
|
|
668 | (1) |
|
|
668 | (1) |
|
|
668 | (7) |
|
Avoiding Unclear Language |
|
|
669 | (1) |
|
|
670 | (5) |
|
30 Writing About Character |
|
|
675 | (47) |
|
|
675 | (1) |
|
The Classical Tragic Hero |
|
|
675 | (1) |
|
|
676 | (1) |
|
Looking at the Modern Hero |
|
|
676 | (42) |
|
Tennessee Williams, The Glass Menagerie |
|
|
676 | (42) |
|
|
718 | (4) |
|
|
718 | (1) |
|
|
718 | (1) |
|
|
718 | (1) |
|
|
719 | (1) |
|
Ideas for Reflective Writing |
|
|
719 | (1) |
|
Ideas for Critical Writing |
|
|
719 | (1) |
|
Ideas for Researched Writing |
|
|
720 | (1) |
|
|
720 | (1) |
|
|
720 | (2) |
|
Developing Paragraphs Specifically |
|
|
721 | (1) |
|
31 Critical Casebook: The Glass Menagerie: Interpreting Amanda |
|
|
722 | (8) |
|
Eight Critical Interpretations |
|
|
722 | (5) |
|
Burton Rasco, Review of The Glass Menagerie |
|
|
722 | (2) |
|
Durant Da Ponte, Tennessee Williams' Gallery of Feminine Characters |
|
|
724 | (1) |
|
Joseph K. Davis, Landscapes of the Dislocated Mind |
|
|
724 | (1) |
|
|
725 | (1) |
|
C.W.E. Bigsby, Entering The Glass Menagerie |
|
|
726 | (1) |
|
Chris Jones, A Domestic Drama of Dashed Dreams |
|
|
726 | (1) |
|
Charles Isherwood, Gritty Polish for a Tennessee Williams Jewel |
|
|
726 | (1) |
|
Ben Brantley, The Shape of Memory, Both Fragile and Fierce |
|
|
727 | (1) |
|
Responding to the Critics |
|
|
727 | (1) |
|
Ideas for Researched Writing |
|
|
728 | (2) |
|
|
729 | (1) |
|
|
730 | (148) |
|
William Shakespeare, Othello, the Moor of Venice |
|
|
730 | (86) |
|
|
816 | (11) |
|
Henrik Ibsen, A Doll's House |
|
|
827 | (51) |
|
33 A Portfolio of Humorous and Satirical Plays |
|
|
878 | (15) |
|
|
878 | (5) |
|
|
883 | (11) |
|
|
892 | (1) |
Part V Critical Approaches to Literature |
|
893 | (78) |
|
34 Critical Approaches for Interpreting Literature |
|
|
894 | (7) |
|
|
894 | (1) |
|
|
895 | (1) |
|
|
895 | (2) |
|
|
896 | (1) |
|
|
896 | (1) |
|
|
896 | (1) |
|
|
897 | (1) |
|
Mythological and Archetypal Approaches |
|
|
897 | (1) |
|
|
898 | (1) |
|
|
898 | (1) |
|
|
899 | (1) |
|
|
899 | (2) |
|
|
900 | (1) |
|
35 Critical Casebook: Writing About Culture and Identity |
|
|
901 | (70) |
|
What Is Cultural Analysis? |
|
|
901 | (1) |
|
|
|
Kate Chopin, Desiree's Baby |
|
|
902 | (4) |
|
|
906 | (4) |
|
Chinua Achebe, Dead Men's Path |
|
|
910 | (4) |
|
Andre Dubus, The Fat Girl |
|
|
914 | (10) |
|
Toni Cade Bambara, The Lesson |
|
|
924 | (6) |
|
Sandra Cisneros, Geraldo No Last Name |
|
|
930 | (1) |
|
Celeste Ng, How To Be Chinese |
|
|
931 | (5) |
|
|
|
|
936 | (1) |
|
|
937 | (1) |
|
|
937 | (1) |
|
James Wright, Autumn Begins in Martins Ferry, Ohio |
|
|
938 | (1) |
|
Audre Lorde, Hanging Fire |
|
|
939 | (2) |
|
Gina Valdes, My Mother Sews Blouses |
|
|
941 | (1) |
|
Gregory Djanikian, Immigrant Picnic |
|
|
942 | (2) |
|
Essex Hemphill, Commitments |
|
|
944 | (1) |
|
|
945 | (3) |
|
|
|
Alice Childress, Florence |
|
|
948 | (10) |
|
Luis Valdez, Los Vendidos |
|
|
958 | (9) |
|
|
967 | (4) |
|
Prewriting: Exploring Cultural Themes |
|
|
967 | (1) |
|
Ideas for Writing: Making Connections |
|
|
968 | (3) |
|
|
969 | (2) |
Glossary of Literary and Rhetorical Terms |
|
971 | (11) |
Credits |
|
982 | (6) |
Index of Authors, Titles, and First Lines of Poems |
|
988 | (8) |
Subject Index |
|
996 | |