Conents by Genre |
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xxiv | |
Thematic Contents |
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xxix | |
Preface |
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xxxv | |
Part I Composing: An Overview |
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1 | (54) |
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3 | (14) |
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3 | (4) |
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4 | (3) |
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7 | (1) |
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7 | (1) |
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7 | (1) |
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8 | (1) |
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8 | (1) |
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8 | (1) |
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9 | (4) |
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9 | (1) |
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9 | (1) |
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10 | (1) |
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11 | (1) |
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11 | (1) |
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12 | (1) |
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What Point Should I Make? |
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13 | (1) |
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Relate a Part to the Whole |
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13 | (1) |
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13 | (4) |
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14 | (1) |
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15 | (2) |
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17 | (15) |
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How Should I Organize My Ideas? |
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17 | (1) |
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The Basic Approach: Devising a Plan |
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17 | (2) |
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18 | (1) |
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How Do I Argue an Interpretation? |
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19 | (1) |
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Checklist for Arguing an Interpretation |
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20 | (1) |
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20 | (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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21 | (1) |
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Distinguishing Critical Comments from Plot Details |
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21 | (1) |
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22 | (1) |
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Postpone If Nothing Comes |
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22 | (1) |
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Write an Appealing Opening |
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22 | (1) |
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23 | (1) |
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23 | (1) |
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Relate the Discussion to Theme |
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23 | (1) |
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24 | (1) |
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Write an Emphatic Final Sentence |
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24 | (1) |
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Composing the First Draft |
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24 | (2) |
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25 | (1) |
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Quoting from Your Sources |
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25 | (1) |
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Sample Student Paper: First Draft |
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26 | (4) |
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30 | (1) |
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31 | (1) |
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Ideas for Responsive Writing |
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31 | (1) |
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Ideas for Critical Writing |
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31 | (1) |
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32 | (23) |
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32 | (1) |
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Getting Feedback: Peer Review |
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33 | (2) |
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33 | (1) |
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Peer Evaluation Checklist for Revision |
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34 | (1) |
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What Should I Add or Take Out? |
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35 | (3) |
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Outlining After the First Draft |
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35 | (1) |
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35 | (1) |
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35 | (1) |
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Sample After-Writing Outline |
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36 | (1) |
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Examining the Sample Outline |
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37 | (1) |
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37 | (1) |
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38 | (1) |
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39 | (1) |
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40 | (1) |
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Which Sentences Should I Combine? |
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40 | (3) |
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Transitional Terms for All Occasions |
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41 | (1) |
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41 | (1) |
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Combining for Conciseness |
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42 | (1) |
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Sentence Combining Exercise |
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42 | (1) |
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Rearranging for Emphasis and Variety |
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43 | (1) |
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43 | (1) |
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44 | (1) |
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Which Words Should I Change? |
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44 | (4) |
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45 | (1) |
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45 | (1) |
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Use Active Voice Most of the Time |
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46 | (1) |
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Use Passive Voice If Appropriate |
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46 | (1) |
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Exercise on Passive Voice |
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46 | (1) |
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47 | (1) |
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47 | (1) |
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48 | (1) |
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48 | (2) |
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48 | (1) |
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Look for Your Typical Errors |
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49 | (1) |
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49 | (1) |
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49 | (1) |
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50 | (1) |
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Sample Student Paper: Final Draft |
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50 | (5) |
Part II Writing About Short Fiction |
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55 | (93) |
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How Do I Read Short Fiction? |
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57 | (6) |
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57 | (1) |
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58 | (1) |
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Consider Point of View and Setting |
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58 | (1) |
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59 | (1) |
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60 | (1) |
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Look for Specialized Literary Techniques |
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60 | (1) |
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61 | (1) |
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Continue Questioning to Discover Theme |
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61 | (2) |
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Critical Questions for Reading the Short Story |
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62 | (1) |
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63 | (12) |
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63 | (1) |
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How Do I Discover Structure? |
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64 | (1) |
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64 | (7) |
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Alice Walker, ``Everyday Use'' |
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65 | (6) |
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71 | (1) |
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71 | (1) |
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71 | (1) |
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71 | (1) |
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Relating Details to Theme |
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72 | (1) |
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72 | (1) |
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Ideas for Responsive Writing |
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72 | (1) |
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Ideas for Critical Writing |
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72 | (1) |
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73 | (2) |
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Integrating Quotations Gracefully |
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73 | (1) |
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Exercise on Integrating Quotations |
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73 | (2) |
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Writing About Imagery and Symbolism |
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75 | (23) |
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75 | (1) |
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76 | (1) |
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76 | (1) |
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Phallic and Yonic Symbols |
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76 | (1) |
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How Will I Recognize Symbols? |
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77 | (1) |
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Reference Works on Symbols |
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77 | (1) |
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Looking at Images and Symbols |
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77 | (7) |
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Shirley Jackson, ``The Lottery'' |
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78 | (6) |
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84 | (1) |
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84 | (1) |
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84 | (1) |
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Producing a Workable Thesis |
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85 | (1) |
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Exercise on Thesis Statements |
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85 | (1) |
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85 | (1) |
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Ideas for Responsive Writing |
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85 | (1) |
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Ideas for Critical Writing |
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86 | (1) |
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86 | (1) |
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Sharpening the Introduction |
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86 | (1) |
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87 | (11) |
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Writing About Point of View |
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98 | (13) |
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98 | (2) |
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99 | (1) |
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Shifting and Unreliable Narrators |
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99 | (1) |
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100 | (8) |
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Ring Lardner, ``Haircut'' |
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101 | (7) |
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108 | (1) |
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Identifying Point of View |
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108 | (1) |
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108 | (1) |
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Relating Point of View to Theme |
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108 | (1) |
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108 | (1) |
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Ideas for Responsive Writing |
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108 | (1) |
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Ideas for Critical Writing |
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109 | (1) |
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109 | (2) |
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Sharpening the Conclusion |
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109 | (2) |
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Writing About Setting and Atmosphere |
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111 | (17) |
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What Are Setting and Atmosphere? |
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111 | (1) |
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Looking at Setting and Atmosphere |
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112 | (11) |
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Tobias Wolff, ``Hunters in the Snow'' |
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113 | (10) |
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123 | (1) |
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123 | (1) |
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124 | (1) |
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Discovering an Organization |
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124 | (1) |
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124 | (1) |
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Ideas for Responsive Writing |
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124 | (1) |
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Ideas for Critical Writing |
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125 | (1) |
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Rewriting: Organization and Style |
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125 | (3) |
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Checking Your Organization |
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125 | (1) |
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Improving the Style: Balanced Sentences |
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125 | (1) |
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Sentence Modeling Exercise |
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126 | (2) |
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128 | (20) |
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128 | (1) |
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129 | (14) |
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Flannery O'Connor, ``Good Country People'' |
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130 | (13) |
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143 | (1) |
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143 | (1) |
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143 | (1) |
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144 | (1) |
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Choosing Supporting Details |
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144 | (1) |
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145 | (1) |
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Ideas for Responsive Writing |
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145 | (1) |
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Ideas for Critical Writing |
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145 | (1) |
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145 | (1) |
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145 | (1) |
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146 | (1) |
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Editing: Improving Connections |
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146 | (2) |
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Repeat Words and Synonyms |
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146 | (1) |
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147 | (1) |
A Casebook on Joyce Carol Oates's ``Where Are You Going, Where Have You Been?'' |
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148 | (16) |
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``Where Are You Going, Where Have You Been?'' |
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148 | (11) |
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159 | (2) |
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Three Critical Interpretations |
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161 | (3) |
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Topics for Discussion and Writing |
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163 | (1) |
Anthology of Short Fiction |
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164 | (263) |
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Nathaniel Hawthrone (1804--1864) |
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164 | (9) |
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Edgar Allan Poe (1809--1849) |
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173 | (5) |
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178 | (3) |
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181 | (3) |
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Mary E. Wilkins Freeman (1852--1930) |
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184 | (11) |
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Edith Wharton (1862--1937) |
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195 | (9) |
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Willa Cather (1873--1947) |
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204 | (13) |
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Sherwood Anderson (1876--1941) |
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217 | (4) |
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Eveline (in Chapter 1) Araby |
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221 | (4) |
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Ring Lardner (1885--1933) |
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D.H. Lawrence (1885--1930) |
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225 | (11) |
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Katherine Anne Porter (1890--1980) |
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The Jilting of Granny Weatherall |
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236 | (6) |
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William Faulkner (1897--1962) |
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242 | (6) |
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Ernest Hemingway (1899--1961) |
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Hills Like White Elephants |
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248 | (4) |
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Zora Neale Hurston (ca. 1901--1960) |
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252 | (8) |
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John Steinbeck (1902--1968) |
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260 | (7) |
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Frank O'Connor (1903--1966) |
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267 | (8) |
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Richard Wright (1908--1960) |
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The Man Who Was Almost a Man |
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275 | (9) |
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284 | (7) |
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291 | (6) |
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John Cheever (1912--1982) |
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297 | (8) |
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305 | (6) |
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Shirley Jackson (1919--1965) |
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The Lottery (in Chapter 6) |
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Hisaye Yamamoto (1921-- ) |
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311 | (9) |
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Flannery O'Connor (1925--1964) |
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Good Country People (in Chapter 9) |
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A Good Man Is Hard to Find |
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320 | (11) |
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331 | (3) |
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334 | (10) |
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344 | (5) |
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349 | (7) |
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Raymond Carver (1938--1988) |
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What We Talk About When We Talk About Love |
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356 | (8) |
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Toni Cade Bambara (1939--1995) |
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364 | (6) |
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Bharati Mukherjee (1940-- ) |
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370 | (11) |
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381 | (6) |
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Everyday Use (in Chapter 5) |
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Hunters in the Snow (in Chapter 8) |
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387 | (12) |
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399 | (8) |
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407 | (7) |
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414 | (13) |
Part III Writing About Poetry |
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427 | (32) |
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429 | (4) |
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Get the Literal Meaning First: Paraphrase |
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429 | (1) |
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Make Associations for Meaning |
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430 | (3) |
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Critical Questions for Reading Poetry |
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432 | (1) |
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Writing About Persona and Tone |
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433 | (17) |
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433 | (1) |
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434 | (1) |
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434 | (1) |
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434 | (1) |
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Looking at Persona and Tone |
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435 | (3) |
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Theodore Roethke, ``My Papa's Waltz'' |
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435 | (1) |
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Thomas Hardy, ``The Ruined Maid'' |
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435 | (1) |
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W. H. Auden, ``The Unknown Citizen'' |
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436 | (1) |
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Edmund Waller, ``Go, Lovely Rose'' |
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437 | (1) |
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Dorothy Parker, ``One Perfect Rose'' |
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438 | (1) |
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438 | (4) |
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Asking Questions About the Speaker in ``My Papa's Waltz'' |
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438 | (1) |
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439 | (1) |
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Describing the Tone in ``The Ruined Maid'' |
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440 | (1) |
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440 | (1) |
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Describing the Tone in ``The Unknown Citizen'' |
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441 | (1) |
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441 | (1) |
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Discovering the Tone in ``Go, Lovely Rose'' |
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442 | (1) |
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Discovering the Tone in ``One Perfect Rose'' |
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442 | (1) |
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442 | (1) |
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Explicating and Analyzing |
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442 | (1) |
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443 | (1) |
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Ideas for Responsive Writing |
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443 | (1) |
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Ideas for Critical Writing |
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443 | (1) |
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444 | (1) |
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444 | (1) |
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445 | (5) |
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Analyzing the Student Essay |
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449 | (1) |
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Writing About Poetic Language |
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450 | (9) |
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What Do the Words Suggest? |
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450 | (3) |
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Connotation and Denotation |
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450 | (1) |
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450 | (1) |
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451 | (1) |
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452 | (1) |
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452 | (1) |
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452 | (1) |
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453 | (1) |
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453 | (1) |
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Looking at Poetic Language |
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453 | (3) |
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``A Noiseless Patient Spider'' |
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453 | (1) |
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``Shall I Compare Thee to a Summer's Day?'' |
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454 | (1) |
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454 | (1) |
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Hayden Carruth, ``In the Long Hall'' |
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454 | (1) |
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Donald Hall, ``My Son My Executioner'' |
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455 | (1) |
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456 | (1) |
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Examining Poetic Language |
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456 | (1) |
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456 | (1) |
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Comparing and Contrasting |
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456 | (1) |
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Ideas for Responsive Writing |
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457 | (1) |
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Ideas for Responsive Writing |
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457 | (1) |
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Ideas for Critical Writing |
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457 | (1) |
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457 | (2) |
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Choosing Vivid, Descriptive Terms |
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457 | (1) |
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458 | (1) |
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458 | (1) |
A Casebook on Love Poetry |
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459 | (32) |
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Sappho, ``With His Venom'' |
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459 | (1) |
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Anonymus ``Western Wind'' |
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459 | (1) |
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``A Valediction: Forbidding Mourning'' |
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460 | (1) |
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461 | (1) |
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Lord Byron, ``When We Two Parted'' |
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462 | (1) |
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``Wild Nights---Wild Nights!'' |
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463 | (1) |
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``What Lips My Lips Have Kissed'' |
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463 | (1) |
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464 | (1) |
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Topics for Discussion and Writing |
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464 | (1) |
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465 | (8) |
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465 | (8) |
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Writing About Poetic Form |
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473 | (18) |
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What Are the Forms of Poetry? |
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473 | (4) |
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473 | (1) |
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Rhythm and Meter in Poetry |
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474 | (1) |
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Alliteration, Assonance, and Consonance |
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475 | (1) |
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475 | (1) |
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Stanzas: Closed and Open Forms |
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475 | (2) |
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477 | (1) |
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Looking at the Forms of Poetry |
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477 | (4) |
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477 | (1) |
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478 | (1) |
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``anyone lived in a pretty how town'' |
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478 | (1) |
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``Telephone Conversation'' |
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479 | (1) |
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``Twilight's Last Gleaming'' |
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480 | (1) |
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480 | (1) |
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481 | (2) |
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Experimenting with Poetic Forms |
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481 | (2) |
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483 | (1) |
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483 | (1) |
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484 | (2) |
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Ideas for Expressive Writing |
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484 | (2) |
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Ideas for Critical Writing |
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486 | (1) |
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486 | (2) |
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486 | (2) |
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Sample Published Essay on Poetic Form |
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488 | (3) |
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``The `Banked Fire' of Robert Hayden's `Those Winter Sundays''' |
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489 | (2) |
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Anthology of Poetry |
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491 | (94) |
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Thomas Wyatt (1503--1542) |
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491 | (1) |
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William Shakespeare (1564--1616) |
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Shall I Compare Thee to a Summer's Day? (in Chapter 12) |
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When in Disgrace with Fortune and Men's Eyes |
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492 | (1) |
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Let Me Not to the Marriage of True Minds |
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492 | (1) |
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That Time of Year Thou Mayst in Me Behold |
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493 | (1) |
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My Mistress' Eyes Are Nothing Like the Sun |
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493 | (1) |
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493 | (1) |
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494 | (1) |
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495 | (1) |
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Edmund Waller (1606--1687) |
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Go, Lovely Rose (in Chapter 11) |
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Richard Lovelace (1618--1657) |
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To Lucasta, on Going to the Wars |
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495 | (1) |
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William Blake (1757--1827) |
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495 | (1) |
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496 | (1) |
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497 | (1) |
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497 | (1) |
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William Wordsworth (1770--1850) |
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Nuns Fret Not (in Chapter 13) |
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The Worlds Is Too Much with Us |
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498 | (1) |
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George Gordon, Lord Byron (1788--1824) |
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498 | (1) |
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Percy Bysshe Shelley (1792--1822) |
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499 | (1) |
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On First Looking into Chapman's Homer |
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499 | (1) |
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500 | (1) |
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Alfred, Lord Tennyson (1809--1892) |
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Walt Whitman (1819--1892) |
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When I Heard the Learn'd Astronomer |
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501 | (1) |
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502 | (1) |
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A Noiseless Patient Spider (in Chapter 12) |
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Matthew Arnold (1822--1888) |
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502 | (1) |
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Emily Dickinson (1830--1886) |
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Success Is Counted Sweetest |
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503 | (1) |
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503 | (1) |
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Safe in Their Alabaster Chambers |
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504 | (1) |
|
He Put the Belt Around My Life |
|
|
504 | (1) |
|
Much Madness is Divinest Sense |
|
|
504 | (1) |
|
Because I Could Not Stop for Death |
|
|
505 | (1) |
|
Some Keep the Sabbath Going to Church |
|
|
505 | (1) |
|
Thomas Hardy (1840--1928) |
|
|
|
|
506 | (1) |
|
The Ruined Main (in Chapter 11) |
|
|
|
Gerard Manley Hopkins (1844-1889) |
|
|
|
|
507 | (1) |
|
|
507 | (1) |
|
A. E. Housman (1859--1936) |
|
|
|
To an Athlete Dying Young |
|
|
508 | (1) |
|
|
509 | (1) |
|
Eight O'Clock (in Chapter 13) |
|
|
|
William Butler Yeats (1865--1939) |
|
|
|
|
509 | (1) |
|
|
510 | (1) |
|
Stephen Crane (1871--1900) |
|
|
|
A Man Said to the Universe |
|
|
511 | (1) |
|
|
511 | (1) |
|
Paul Laurence Dunbar (1872--1906) |
|
|
|
|
512 | (1) |
|
Robert Frost (1874--1963) |
|
|
|
|
513 | (1) |
|
|
514 | (1) |
|
|
515 | (1) |
|
|
516 | (1) |
|
|
516 | (1) |
|
CarlSandburg (1878--1967) |
|
|
|
|
517 | (1) |
|
|
517 | (1) |
|
|
517 | (1) |
|
Wallace Stevens (1879--1955) |
|
|
|
|
518 | (1) |
|
|
519 | (1) |
|
William Carlos Williams (1883--1963) |
|
|
|
|
519 | (1) |
|
|
520 | (1) |
|
D. H. Lawrence (1885--1930) |
|
|
|
|
520 | (1) |
|
|
521 | (2) |
|
|
|
In a Station of the Metro |
|
|
523 | (1) |
|
The River-Merchant's Wife: A Letter |
|
|
523 | (1) |
|
H. D. [Hilda Doolittle] (1886--1961) |
|
|
|
|
|
|
|
The Love Song of J. Alfred Prufrock |
|
|
524 | (3) |
|
Claude McKay (1890--1948) |
|
|
|
|
527 | (1) |
|
Edna St. Vincent Millay (1892--1950) |
|
|
|
Oh, Oh, You Will Be Sorry for That Word! |
|
|
528 | (1) |
|
|
528 | (1) |
|
Dorothy Parker (1893--1967) |
|
|
|
One Perfect Rose (in Chapter 11) |
|
|
|
Wilfred Owen (1893--1918) |
|
|
|
|
528 | (1) |
|
E. E. Cummings (1894--1962) |
|
|
|
|
529 | (1) |
|
next to of course god america i |
|
|
530 | (1) |
|
|
531 | (1) |
|
pity this busy monster, manunkind |
|
|
532 | (1) |
|
anyone lived in a pretty how town (in Chapter 13) |
|
|
|
|
|
|
532 | (1) |
|
Langston Hughes (1902--1967) |
|
|
|
|
533 | (1) |
|
|
533 | (1) |
|
Harlem (A Dream Deferred) |
|
|
534 | (1) |
|
|
534 | (1) |
|
The Negro Speaks of Rivers |
|
|
535 | (1) |
|
Stevie Smith (1902--1971) |
|
|
|
|
536 | (1) |
|
Countee Cullen (1903--1946) |
|
|
|
|
536 | (1) |
|
Pablo Neruda (1904--1973) |
|
|
|
|
537 | (1) |
|
|
538 | (1) |
|
|
|
|
539 | (2) |
|
|
541 | (1) |
|
The Unknown Citizen (in Chapter 11) |
|
|
|
Theodore Roethke (1908--1963) |
|
|
|
|
541 | (1) |
|
|
542 | (1) |
|
My Papa's Waltz (in Chapter 11) |
|
|
|
Elizabeth Bishop (1911--1979) |
|
|
|
|
542 | (1) |
|
|
|
|
543 | (1) |
|
Robert Hayden (1913--1980) |
|
|
|
|
544 | (1) |
|
Randall Jarrell (1914--1965) |
|
|
|
The Death of the Ball turret Gunner |
|
|
544 | (1) |
|
|
|
|
545 | (1) |
|
|
|
|
545 | (1) |
|
William Stafford (1914--1993) |
|
|
|
Traveling Through the Dark |
|
|
546 | (1) |
|
|
|
The Force That Through the Green Fuse Drives the Flower |
|
|
546 | (1) |
|
Do Not Go Gentle into That Good Night |
|
|
547 | (1) |
|
|
548 | (1) |
|
Gwendolyn Brooks (1917--2000) |
|
|
|
|
549 | (1) |
|
We Real Cool (in Chapter 13) |
|
|
|
|
550 | (1) |
|
Lawrence Ferlinghetti (1919-- ) |
|
|
|
Constantly Risking Absurdity |
|
|
550 | (1) |
|
Howard Nemerov (1920--1991) |
|
|
|
|
551 | (1) |
|
|
|
In the Long Hall (in Chapter 12) |
|
|
|
|
|
Love Calls Us to the Things of This World |
|
|
552 | (1) |
|
Philip Larkin (1922--1985) |
|
|
|
|
553 | (1) |
|
James Dickey (1923--1997) |
|
|
|
|
553 | (2) |
|
Denise Levertov (1923-1997) |
|
|
|
|
555 | (1) |
|
Wislawa Szymborska (1923-- ) |
|
|
|
|
555 | (2) |
|
|
|
|
557 | (1) |
|
|
|
|
557 | (1) |
|
|
|
|
558 | (2) |
|
Allen Ginsberg (1926--1997) |
|
|
|
A Supermarket in California |
|
|
560 | (1) |
|
James Wright (1927--1980) |
|
|
|
Autumn Begins in Martins Ferry, Ohio |
|
|
561 | (1) |
|
|
|
My Son My Executioner (in Chapter 12) |
|
|
|
|
|
You All Know the Story of the Other Woman |
|
|
561 | (1) |
|
|
562 | (2) |
|
|
|
|
564 | (1) |
|
Sylvia Plath (1932--1963) |
|
|
|
|
565 | (1) |
|
|
565 | (1) |
|
|
566 | (2) |
|
|
|
|
568 | (1) |
|
|
|
|
569 | (1) |
|
Imamu Amiri Baraka (1934-- ) |
|
|
|
Preface to a Twenty Volume Suicide Note |
|
|
569 | (1) |
|
|
570 | (1) |
|
|
|
|
571 | (1) |
|
|
|
Telephone Conversation (in Chapter 13) |
|
|
|
|
|
|
572 | (1) |
|
The Woman in the Ordinary |
|
|
573 | (1) |
|
|
|
|
573 | (1) |
|
John Lennon (1940-1980) and Paul McCartney (1942-- ) |
|
|
|
|
574 | (1) |
|
|
|
The Death of Marilyn Monroe |
|
|
575 | (1) |
|
|
576 | (1) |
|
|
|
|
576 | (1) |
|
|
|
|
577 | (1) |
|
|
|
|
578 | (1) |
|
Yusef Komunyakaa (1947-- ) |
|
|
|
|
578 | (1) |
|
|
579 | (1) |
|
|
|
|
580 | (1) |
|
Jimmy Santiago Baca (1952-- ) |
|
|
|
|
581 | (1) |
|
Judith Ortiz Cofer (1952-- ) |
|
|
|
|
582 | (1) |
|
|
|
Indian Boarding School: The Runaways |
|
|
582 | (1) |
|
|
|
|
583 | (1) |
|
Liberating a Pillar of Tortillas |
|
|
584 | (1) |
Paired Poems for Comparison |
|
585 | (10) |
|
Christopher Marlowe (1564--1593) |
|
|
|
The Passionate Shepherd to His Love |
|
|
585 | (1) |
|
Sir Walter Raleigh (ca. 1552--1618) |
|
|
|
The Nymph's Reply to the Shepherd |
|
|
586 | (1) |
|
Robert Browning (1812--1889) |
|
|
|
|
586 | (2) |
|
|
|
|
588 | (1) |
|
Thomas Hardy (1840--1928) |
|
|
|
The Convergence of the Twain |
|
|
589 | (1) |
|
David R. Slavitt (1935-- ) |
|
|
|
|
590 | (1) |
|
Edwin Arlington Robinson (1869--1935) |
|
|
|
|
591 | (1) |
|
|
|
|
592 | (1) |
|
Robert Frost (1874--1963) |
|
|
|
|
593 | (1) |
|
|
|
|
593 | (2) |
Part IV Writing About Drama |
|
595 | (105) |
|
|
597 | (5) |
|
|
597 | (1) |
|
|
598 | (1) |
|
|
599 | (1) |
|
|
600 | (2) |
|
Critical Questions for Reading Plays |
|
|
601 | (1) |
|
Writing About Dramatic Structure |
|
|
602 | (50) |
|
What Is Dramatic Structure? |
|
|
602 | (1) |
|
Looking at Dramatic Structure? |
|
|
603 | (38) |
|
|
605 | (36) |
|
|
641 | (1) |
|
Analyzing Dramatic Structure |
|
|
641 | (1) |
|
|
641 | (2) |
|
Discovering a Workable Argumentative Thesis |
|
|
642 | (1) |
|
|
643 | (1) |
|
|
643 | (1) |
|
Ideas for Responsive Writing |
|
|
643 | (1) |
|
Ideas for Critical Writing |
|
|
644 | (1) |
|
|
644 | (1) |
|
Avoiding Unclear Language |
|
|
644 | (1) |
|
|
645 | (7) |
|
|
651 | (1) |
|
|
652 | (48) |
|
|
652 | (1) |
|
The Classical Tragic Hero |
|
|
652 | (1) |
|
|
653 | (1) |
|
Looking at the Modern Hero |
|
|
653 | (43) |
|
|
654 | (42) |
|
|
|
696 | (1) |
|
|
696 | (1) |
|
|
696 | (1) |
|
|
697 | (1) |
|
|
697 | (1) |
|
Ideas for Responsive Writing |
|
|
697 | (1) |
|
Ideas for Critical Writing |
|
|
698 | (1) |
|
|
698 | (2) |
|
Developing Paragraphs Specifically |
|
|
698 | (1) |
|
Exercise on Providing Quotations |
|
|
699 | (1) |
A Casebook on The Glass Menagerie: Interpreting Amanda |
|
700 | (87) |
|
Review of The Glass Menagerie |
|
|
700 | (1) |
|
|
``Diverse, Unique Amanda'' |
|
|
701 | (1) |
|
|
``Tennessee Williams' Gallery of Feminine Characters'' |
|
|
701 | (1) |
|
|
``Entering The Glass Menagerie'' |
|
|
702 | (1) |
|
|
Responding to the Critics |
|
|
703 | (1) |
|
Drama for Writing: The Research Paper |
|
|
704 | (83) |
|
What Is Cultural Analysis? |
|
|
704 | (1) |
|
Looking at Cultural Issues |
|
|
705 | (46) |
|
|
706 | (45) |
|
|
Using Library Sources in Your Writing |
|
|
751 | (1) |
|
A Student Researcher's Process |
|
|
751 | (1) |
|
|
752 | (4) |
|
Figure 17-1 Reading Notes |
|
|
752 | (1) |
|
|
753 | (1) |
|
|
753 | (1) |
|
|
754 | (1) |
|
|
754 | (1) |
|
|
754 | (1) |
|
|
755 | (1) |
|
|
755 | (1) |
|
Guides to Criticism of Poetry, Drama, and Fiction |
|
|
756 | (1) |
|
|
756 | (4) |
|
|
757 | (1) |
|
Writing Before Researching |
|
|
757 | (1) |
|
|
758 | (1) |
|
|
759 | (1) |
|
Ideas for Researched Writing |
|
|
760 | (2) |
|
|
760 | (1) |
|
|
761 | (1) |
|
|
761 | (1) |
|
|
762 | (1) |
|
|
762 | (1) |
|
Including Informational Notes |
|
|
762 | (1) |
|
|
762 | (1) |
|
Checklist for Accurate Documentation |
|
|
763 | (1) |
|
Sample Documented Papers by Students |
|
|
763 | (16) |
|
|
763 | (11) |
|
|
774 | (5) |
|
Explanation of the MLA Documentation Style |
|
|
779 | (8) |
|
Sample Entries for a Works Cited List |
|
|
781 | (4) |
|
Citing Works in Electronic Form |
|
|
785 | (1) |
|
Citing Sources from the Internet |
|
|
786 | (1) |
Anthology of Drama |
|
787 | (300) |
|
Sophocles (ca. 496--ca. 405 B.C.) |
|
|
|
|
|
|
787 | (43) |
|
William Shakespeare (1564--1616) |
|
|
|
Othello, the Moor of Venice |
|
|
830 | (86) |
|
Henrik Ibsen (1828--1906) |
|
|
|
|
916 | (51) |
|
Anton Chekhov (1860--1904) |
|
|
|
|
967 | (10) |
|
Susan Glaspell (1882--1948) |
|
|
|
|
977 | (10) |
|
Tennessee Williams (1911--1983) |
|
|
|
The Glass Menagerie (in Chapter 16) |
|
|
|
Lorraine Hansberry (1930--1965) |
|
|
|
|
987 | (56) |
|
Fernando Arrabal (1932-- ) |
|
|
|
Picnic on the Battlefield |
|
|
1043 | (10) |
|
|
|
|
1053 | (8) |
|
|
|
|
1061 | (8) |
|
Harvey Fierstein (1954-- ) |
|
|
|
|
1069 | (18) |
|
David Henry Hwang (1957-- ) |
|
|
|
M. Butterfly (in Chapter 17) |
|
|
Part V The Editing Process |
|
1087 | (2) |
A Handbook for Correcting Errors |
|
1089 | (33) |
|
|
1089 | (1) |
|
Correcting Sentence Boundary Errors |
|
|
1089 | (6) |
|
Examples of Phrases and Clauses |
|
|
1090 | (1) |
|
|
1090 | (1) |
|
|
1090 | (1) |
|
|
1091 | (1) |
|
|
1092 | (2) |
|
|
1094 | (1) |
|
|
1095 | (1) |
|
Clearing Up Confused Sentences |
|
|
1096 | (1) |
|
Solving Faulty Predication Problems |
|
|
1096 | (1) |
|
Fixing Subject-Verb Agreement Errors |
|
|
1097 | (2) |
|
|
1099 | (4) |
|
Correcting Shifts in Person |
|
|
1103 | (1) |
|
Correcting Shifts in Tense |
|
|
1104 | (1) |
|
Finding Modifier Mistakes |
|
|
1105 | (1) |
|
Coping with Irregular Verbs |
|
|
1106 | (1) |
|
|
1107 | (1) |
|
|
1107 | (1) |
|
Solving Punctuation Problems |
|
|
1108 | (2) |
|
Using Necessary Commas Only |
|
|
1110 | (1) |
|
|
1111 | (1) |
|
Distinguishing Hyphens from Dashes |
|
|
1112 | (1) |
|
Integrating Quotations Gracefully |
|
|
1113 | (1) |
|
Quoting from a Story: Crediting Sources |
|
|
1113 | (1) |
|
|
1114 | (1) |
|
|
1115 | (1) |
|
Punctuating Quoted Material |
|
|
1115 | (4) |
|
Writing Smooth Transitions |
|
|
1119 | (1) |
|
Catching Careless Mistakes |
|
|
1120 | (2) |
Appendix: Critical Approaches for Interpreting Literature |
|
1122 | (6) |
|
|
1123 | (1) |
|
|
1123 | (1) |
|
|
1123 | (1) |
|
|
1124 | (1) |
|
|
1124 | (1) |
|
|
1124 | (1) |
|
Mythological and Archetypal Approaches |
|
|
1125 | (1) |
|
|
1125 | (1) |
|
|
1126 | (1) |
|
|
1126 | (1) |
|
|
1127 | (1) |
Glossary of Literary and Rhetorical Terms |
|
1128 | (10) |
Biographical Notes |
|
1138 | (23) |
Credits |
|
1161 | (5) |
Index of Authors, Titles, and First Lines of Poems |
|
1166 | (7) |
Subject Index |
|
1173 | |