Contents by Genre |
|
xxvii | |
Thematic Contents |
|
xxxiii | |
Preface |
|
xxxix | |
|
Part I Composing: An Overview |
|
|
1 | (54) |
|
|
3 | (14) |
|
|
3 | (4) |
|
|
3 | (4) |
|
|
7 | (1) |
|
|
7 | (1) |
|
|
7 | (1) |
|
|
8 | (1) |
|
|
8 | (1) |
|
|
8 | (1) |
|
|
9 | (1) |
|
Reading and Thinking Critically |
|
|
9 | (1) |
|
Discovering and Developing Ideas |
|
|
10 | (5) |
|
|
10 | (1) |
|
|
11 | (1) |
|
Figure 1-1 Directed Freewriting |
|
|
12 | (1) |
|
|
13 | (1) |
|
|
13 | (1) |
|
|
14 | (1) |
|
What Point Should I Make? |
|
|
15 | (1) |
|
Relate a Part to the Whole |
|
|
15 | (1) |
|
|
15 | (2) |
|
|
16 | (1) |
|
|
17 | (15) |
|
How Should I Organize My Ideas? |
|
|
17 | (1) |
|
Arguing Your Interpretation |
|
|
17 | (4) |
|
The Elements of Good Argument |
|
|
17 | (2) |
|
Building an Effective Argument |
|
|
19 | (1) |
|
|
20 | (1) |
|
Chart 2-1 Checklist for Arguing an Interpretation |
|
|
20 | (1) |
|
|
21 | (1) |
|
Questions for Consideration |
|
|
21 | (1) |
|
Maintaining a Critical Focus |
|
|
22 | (1) |
|
Distinguishing Critical Comments from Plot Details |
|
|
22 | (1) |
|
|
22 | (2) |
|
Postpone If Nothing Comes |
|
|
23 | (1) |
|
Write an Appealing Opening |
|
|
23 | (1) |
|
|
23 | (1) |
|
|
24 | (1) |
|
Relate the Discussion to Theme |
|
|
24 | (1) |
|
|
24 | (1) |
|
Write an Emphatic Final Sentence |
|
|
24 | (1) |
|
Composing the First Draft |
|
|
25 | (1) |
|
|
25 | (1) |
|
Quoting from Your Sources |
|
|
25 | (1) |
|
Sample Student Paper: First Draft |
|
|
26 | (4) |
|
|
30 | (1) |
|
|
31 | (1) |
|
Ideas for Responsive Writing |
|
|
31 | (1) |
|
Ideas for Critical Writing |
|
|
31 | (1) |
|
|
32 | (23) |
|
|
32 | (1) |
|
Getting Feedback: Peer Review |
|
|
33 | (2) |
|
|
33 | (1) |
|
Chart 3-1 Peer Evaluation Checklist for Revision |
|
|
34 | (1) |
|
What Should I Add or Take Out? |
|
|
35 | (3) |
|
Outlining After the First Draft |
|
|
35 | (1) |
|
|
35 | (1) |
|
|
35 | (1) |
|
Sample After-Writing Outline |
|
|
36 | (1) |
|
Examining the Sample Outline |
|
|
37 | (1) |
|
|
37 | (1) |
|
|
38 | (1) |
|
|
39 | (1) |
|
|
40 | (1) |
|
What Sentences Should I Combine? |
|
|
40 | (3) |
|
Chart 3-2 Transitional Terms for All Occasions |
|
|
41 | (1) |
|
Chart 3-3 Revising Checklist |
|
|
41 | (1) |
|
Combining for Conciseness |
|
|
41 | (1) |
|
Sentence Combining Exercise |
|
|
42 | (1) |
|
Rearranging for Emphasis and Variety |
|
|
43 | (1) |
|
|
43 | (1) |
|
|
44 | (1) |
|
Which Words Should I Change? |
|
|
44 | (4) |
|
|
44 | (1) |
|
|
45 | (1) |
|
Use Active Voice Most of the Time |
|
|
45 | (1) |
|
Use Passive If Appropriate |
|
|
46 | (1) |
|
Exercise on Passive Voice |
|
|
46 | (1) |
|
|
46 | (1) |
|
|
47 | (1) |
|
|
47 | (1) |
|
|
48 | (1) |
|
|
48 | (1) |
|
Look for Your Typical Errors |
|
|
48 | (1) |
|
Chart 3-4 Proofreading Checklist |
|
|
49 | (1) |
|
|
49 | (1) |
|
|
49 | (1) |
|
Sample Student Paper: Final Draft |
|
|
49 | (6) |
|
Part II Writing About Short Fiction |
|
|
55 | (97) |
|
How Do I Read Short Fiction? |
|
|
57 | (6) |
|
|
57 | (1) |
|
|
58 | (1) |
|
Consider Point of View and Setting |
|
|
58 | (1) |
|
|
59 | (1) |
|
|
59 | (1) |
|
Look for Specialized Literary Techniques |
|
|
60 | (1) |
|
|
60 | (1) |
|
Investigate the Author's Life and Times |
|
|
61 | (1) |
|
Continue Questioning to Discover Theme |
|
|
61 | (2) |
|
Chart 4-1 Critical Questions for Reading the Short Story |
|
|
61 | (2) |
|
|
63 | (18) |
|
|
63 | (1) |
|
How Do I Discover Structure? |
|
|
64 | (1) |
|
|
64 | (12) |
|
Tim O'Brien, ``The Things They Carried'' |
|
|
64 | (12) |
|
|
76 | (1) |
|
|
76 | (1) |
|
|
77 | (1) |
|
|
77 | (1) |
|
Relating Details to Theme |
|
|
78 | (1) |
|
|
78 | (1) |
|
Ideas for Responsive Writing |
|
|
78 | (1) |
|
Ideas for Critical Writing |
|
|
78 | (1) |
|
For Further Reading and Research |
|
|
79 | (1) |
|
|
79 | (2) |
|
Integrating Quotations Gracefully |
|
|
79 | (1) |
|
Exercise on Integrating Quotations |
|
|
80 | (1) |
|
Writing About Imagery and Symbolism |
|
|
81 | (23) |
|
|
81 | (1) |
|
|
82 | (1) |
|
|
82 | (1) |
|
Phallic and Yonic Symbols |
|
|
82 | (1) |
|
How Will I Recognize Symbols? |
|
|
83 | (1) |
|
Reference Works on Symbols |
|
|
83 | (1) |
|
Looking at Images and Symbols |
|
|
83 | (6) |
|
Shirley Jackson, ``The Lottery'' |
|
|
83 | (6) |
|
|
89 | (1) |
|
|
89 | (1) |
|
|
90 | (1) |
|
Producing a Workable Thesis |
|
|
90 | (1) |
|
Exercise on Thesis Statements |
|
|
90 | (1) |
|
|
91 | (1) |
|
Ideas for Responsive Writing |
|
|
91 | (1) |
|
Ideas for Critical Writing |
|
|
91 | (1) |
|
For Further Reading and Research |
|
|
92 | (1) |
|
|
92 | (1) |
|
Sharpening the Introduction |
|
|
92 | (1) |
|
Sample Student Papers: Second and Final Drafts |
|
|
93 | (11) |
|
Writing About Point of View |
|
|
104 | (12) |
|
|
104 | (2) |
|
|
105 | (1) |
|
|
106 | (6) |
|
Alice Walker, ``Everyday Use'' |
|
|
106 | (6) |
|
|
112 | (1) |
|
|
113 | (1) |
|
|
113 | (1) |
|
Relating Point of View to Theme |
|
|
113 | (1) |
|
|
114 | (1) |
|
Ideas for Responsive Writing |
|
|
114 | (1) |
|
Ideas for Critical Writing |
|
|
114 | (1) |
|
For Further Reading and Research |
|
|
114 | (1) |
|
|
115 | (1) |
|
Sharpening the Conclusion |
|
|
115 | (1) |
|
Writing About Setting and Atmosphere |
|
|
116 | (17) |
|
What Are Setting and Atmosphere? |
|
|
116 | (1) |
|
Looking at Setting and Atmosphere |
|
|
117 | (10) |
|
Tobias Wolff, ``Hunters in the Snow'' |
|
|
117 | (10) |
|
|
127 | (1) |
|
|
127 | (1) |
|
|
128 | (1) |
|
Discovering an Organization |
|
|
128 | (1) |
|
|
129 | (1) |
|
Ideas for Responsive Writing |
|
|
129 | (1) |
|
Ideas for Critical Writing |
|
|
129 | (1) |
|
For Further Reading and Research |
|
|
129 | (1) |
|
Rewriting: Organization and Style |
|
|
130 | (3) |
|
Checking Your Organization |
|
|
130 | (1) |
|
Improving the Style: Balanced Sentences |
|
|
130 | (1) |
|
Sentence Modeling Exercise |
|
|
131 | (2) |
|
|
133 | (19) |
|
|
133 | (1) |
|
|
134 | (13) |
|
Flannery O'Connor, ``Good Country People'' |
|
|
134 | (13) |
|
|
147 | (1) |
|
|
147 | (1) |
|
|
147 | (1) |
|
|
148 | (1) |
|
Choosing Supporting Details |
|
|
148 | (1) |
|
|
149 | (1) |
|
Ideas for Responsive Writing |
|
|
149 | (1) |
|
Ideas for Critical Writing |
|
|
149 | (1) |
|
For Further Reading and Research |
|
|
149 | (1) |
|
|
150 | (1) |
|
|
150 | (1) |
|
|
150 | (1) |
|
Editing: Improving Connections |
|
|
150 | (2) |
|
Repeat Words and Synonyms |
|
|
150 | (1) |
|
|
151 | (1) |
|
CASEBOOK Joyce Carol Oates's ``Where Are You Going, Where Have You Been?'' |
|
|
152 | (17) |
|
Joyce Carol Oates (1938-- ), ``Where Are You Going, Where Have You Been?'' |
|
|
152 | (12) |
|
|
164 | (1) |
|
Four Critical Interpretations |
|
|
165 | (4) |
|
Topics for Discussion and Writing |
|
|
167 | (1) |
|
For Further Reading and Research |
|
|
168 | (1) |
|
Anthology of Short Fiction |
|
|
169 | (224) |
|
Nathaniel Hawthorne (1804--1864) |
|
|
|
|
169 | (10) |
|
Edgar Allan Poe (1809--1849) |
|
|
|
``The Cask of Amontillado'' |
|
|
179 | (5) |
|
|
|
|
184 | (4) |
|
|
188 | (2) |
|
Edith Wharton (1862--1937) |
|
|
|
|
190 | (9) |
|
Willa Cather (1873--1947) |
|
|
|
|
199 | (13) |
|
Sherwood Anderson (1876--1941) |
|
|
|
|
212 | (4) |
|
|
|
|
216 | (4) |
|
D. H. Lawrence (1885--1930) |
|
|
|
``The Rocking-Horse Winner'' |
|
|
220 | (10) |
|
Katherine Anne Porter (1890--1980) |
|
|
|
``The Jilting of Granny Weatherall'' |
|
|
230 | (7) |
|
Zora Neale Hurston (c. 1891--1960) |
|
|
|
|
237 | (8) |
|
William Faulkner (1897--1962) |
|
|
|
|
245 | (6) |
|
Ernest Hemingway (1899--1961) |
|
|
|
``Hills Like White Elephants'' |
|
|
251 | (4) |
|
John Steinbeck (1902--1968) |
|
|
|
|
255 | (7) |
|
Frank O'Connor (1903--1966) |
|
|
|
|
262 | (8) |
|
Richard Wright (1908--1960) |
|
|
|
``The Man Who Was Almost a Man'' |
|
|
270 | (8) |
|
|
|
|
278 | (6) |
|
Eudora Welty (1909--2001) |
|
|
|
|
284 | (6) |
|
|
|
``The Girls in Their Summer Dresses'' |
|
|
290 | (4) |
|
|
|
|
294 | (6) |
|
Hisaye Yamamoto (1921-- ) |
|
|
|
|
300 | (8) |
|
Flannery O'Connor (1925--1964) |
|
|
|
``A Good Man Is Hard to Find'' |
|
|
308 | (10) |
|
Ursula K. Le Guin (1929-- ) |
|
|
|
``The Ones Who Walk Away from Omelas'' |
|
|
318 | (5) |
|
|
|
|
323 | (2) |
|
|
|
|
325 | (8) |
|
|
|
|
333 | (4) |
|
Raymond Carver (1938--1988) |
|
|
|
``What We Talk About When We Talk About Love'' |
|
|
337 | (8) |
|
Toni Cade Bambara (1939--1995) |
|
|
|
|
345 | (6) |
|
Bharati Mukherjee (1940-- ) |
|
|
|
|
351 | (7) |
|
|
|
|
358 | (5) |
|
Sandra Cisneros (1954-- ) |
|
|
|
|
363 | (1) |
|
|
|
|
364 | (7) |
|
|
|
|
371 | (13) |
|
|
|
``This Is What It Means to Say Phoenix, Arizona'' |
|
|
384 | (9) |
|
Part III Writing About Poetry |
|
|
393 | (33) |
|
|
395 | (4) |
|
Get the Literal Meaning First: Paraphrase |
|
|
395 | (1) |
|
Make Associations for Meaning |
|
|
396 | (3) |
|
Chart 10-1 Critical Questions for Reading Poetry |
|
|
397 | (2) |
|
Writing About Persona and Tone |
|
|
399 | (17) |
|
|
399 | (1) |
|
|
400 | (1) |
|
|
400 | (1) |
|
|
400 | (1) |
|
Looking at Persona and Tone |
|
|
401 | (3) |
|
|
401 | (1) |
|
|
|
401 | (1) |
|
|
|
402 | (1) |
|
|
|
403 | (1) |
|
|
|
404 | (1) |
|
|
|
404 | (4) |
|
Asking Questions About the Speaker in ``My Papa's Waltz'' |
|
|
404 | (1) |
|
|
405 | (1) |
|
Describing the Tone in ``The Ruined Maid'' |
|
|
406 | (1) |
|
|
406 | (1) |
|
Describing the Tone in ``The Unknown Citizen'' |
|
|
407 | (1) |
|
|
407 | (1) |
|
Discovering the Tone in ``Go, Lovely Rise'' |
|
|
408 | (1) |
|
Discovering the Tone in ``One Perfect Rise'' |
|
|
408 | (1) |
|
|
408 | (1) |
|
Explicating and Analyzing |
|
|
408 | (1) |
|
|
409 | (1) |
|
Ideas for Responsive Writing |
|
|
409 | (1) |
|
Ideas for Critical Writing |
|
|
410 | (1) |
|
For Further Reading and Research |
|
|
410 | (1) |
|
|
410 | (2) |
|
|
411 | (1) |
|
Sample Student Paper: Poetry |
|
|
412 | (4) |
|
Analyzing the Student Essay |
|
|
415 | (1) |
|
Writing About Poetic Language |
|
|
416 | (10) |
|
What Do the Words Suggest? |
|
|
416 | (3) |
|
Connotation and Denotation |
|
|
416 | (1) |
|
|
416 | (1) |
|
|
417 | (1) |
|
|
418 | (1) |
|
|
418 | (1) |
|
|
418 | (1) |
|
|
418 | (1) |
|
|
419 | (1) |
|
Looking at Poetic Language |
|
|
419 | (3) |
|
Walt Whitman, ``A Noiseless Patient Spider'' |
|
|
419 | (1) |
|
William Shakespeare, ``Shall I Compare Thee to a Summer's Day?'' |
|
|
420 | (1) |
|
|
420 | (1) |
|
Hayden Carruth, ``In the Long Hall'' |
|
|
421 | (1) |
|
Donald Hall, ``My Son My Executioner'' |
|
|
421 | (1) |
|
|
422 | (1) |
|
Examining Poetic Language |
|
|
422 | (1) |
|
|
422 | (1) |
|
Comparing and Contrasting |
|
|
423 | (1) |
|
|
423 | (1) |
|
Ideas for Responsive Writing |
|
|
423 | (1) |
|
Ideas for Critical Writing |
|
|
423 | (1) |
|
For Further Reading and Research |
|
|
424 | (1) |
|
|
424 | (2) |
|
Choosing Vivid, Descriptive Terms |
|
|
424 | (1) |
|
|
425 | (1) |
|
|
425 | (1) |
|
|
426 | (33) |
|
Sappho (ca. 612--ca. 580 B.C.), ``With His Venom'' |
|
|
426 | (1) |
|
Anonymous, ``Western Wind'' |
|
|
426 | (1) |
|
John Donne (1572--1631), ``A Valediction: Forbidding Mourning'' |
|
|
427 | (1) |
|
Andrew Marvell (1621--1678), ``To His Coy Mistress'' |
|
|
428 | (1) |
|
Elizabeth Barrett Browning (1806--1861), ``How Do I Love Thee? Let Me Count the Ways?'' |
|
|
429 | (1) |
|
Emily Dickinson (1830--1886), ``Wild Nights---Wild Nights!'' |
|
|
429 | (1) |
|
Edna St. Vincent Millay (1892--1950), ``What Lips My Lips Have Kissed'' |
|
|
430 | (1) |
|
Adrienne Rich (1929-- ), ``Living in Sin'' |
|
|
430 | (1) |
|
Sharon Olds (1942-- ), ``Topography'' |
|
|
431 | (1) |
|
Topics for Discussion and Writing |
|
|
432 | (1) |
|
For Further Reading and Research |
|
|
432 | (1) |
|
Sample Student Papers: Second and Final Drafts |
|
|
433 | (8) |
|
|
433 | (8) |
|
Writing About Poetic Form |
|
|
441 | (18) |
|
What Are the Forms of Poetry? |
|
|
441 | (4) |
|
|
441 | (1) |
|
Chart 13-1 Rhythm and Meter in Poetry |
|
|
442 | (1) |
|
Alliteration, Assonance, and Consonance |
|
|
443 | (1) |
|
|
443 | (1) |
|
Stanzas: Closed and Open Form |
|
|
443 | (1) |
|
|
444 | (1) |
|
Looking at the Forms of Poetry |
|
|
445 | (4) |
|
|
445 | (1) |
|
|
|
445 | (1) |
|
|
``anyone lived in a pretty how town'' |
|
|
446 | (1) |
|
|
``Telephone Conversation'' |
|
|
447 | (1) |
|
|
|
448 | (1) |
|
|
|
448 | (1) |
|
|
|
449 | (2) |
|
Experimenting with Poetic Forms |
|
|
449 | (2) |
|
|
451 | (1) |
|
|
451 | (1) |
|
|
452 | (2) |
|
Ideas for Expressive Writing |
|
|
452 | (1) |
|
Ideas for Critical Writing |
|
|
453 | (1) |
|
For Further Reading and Research |
|
|
454 | (1) |
|
|
454 | (2) |
|
|
454 | (1) |
|
|
454 | (2) |
|
Sample Published Essay on Poetic Form: David Huddle, ``The `Banked Fire' of Robert Hayden's `Those Winter Sundays''' |
|
|
456 | (2) |
|
|
|
|
458 | (1) |
|
CASEBOOK The Poetry and Prose of Langston Hughes |
|
|
459 | (98) |
|
Langston Hughes: A Brief Biography |
|
|
459 | (2) |
|
|
461 | (6) |
|
``The Negro Speaks of Rivers'' |
|
|
461 | (1) |
|
|
462 | (1) |
|
|
462 | (1) |
|
|
463 | (1) |
|
|
464 | (1) |
|
``Harlem (A Dream Deferred)'' |
|
|
465 | (1) |
|
|
465 | (1) |
|
|
466 | (1) |
|
|
467 | (7) |
|
|
467 | (1) |
|
|
468 | (3) |
|
|
471 | (3) |
|
|
474 | (1) |
|
|
474 | (5) |
|
``Hughes and the Black Controversy'' |
|
|
474 | (1) |
|
|
``A Poet for the People'' |
|
|
474 | (1) |
|
|
``Forerunner and Ambassador'' |
|
|
475 | (1) |
|
|
``Do Right to Write Right: Langston Hughes's Aesthetics of Simplicity'' |
|
|
476 | (1) |
|
|
``Jazz and Langston Hughes's Poetry'' |
|
|
477 | (1) |
|
|
|
478 | (1) |
|
|
Ideas for Writing About Langston Hughes |
|
|
479 | (1) |
|
For Further Reading and Research |
|
|
479 | (1) |
|
|
|
Thomas Wyatt (1503--1542) |
|
|
|
|
480 | (1) |
|
William Shakespeare (1564--1616) |
|
|
|
``When in Disgrace with Fortune and Men's Eyes'' |
|
|
480 | (1) |
|
``Let Me Not to the Marriage of True Minds'' |
|
|
481 | (1) |
|
``That Time of Year Thou Mayst in Me Behold'' |
|
|
481 | (1) |
|
``My Mistress' Eyes Are Nothing Like the Sun'' |
|
|
482 | (1) |
|
|
|
|
482 | (1) |
|
|
|
|
482 | (1) |
|
Richard Lovelace (1618--1657) |
|
|
|
``To Lucasta, on Going to the Wars'' |
|
|
483 | (1) |
|
William Blake (1757--1827) |
|
|
|
|
483 | (1) |
|
|
484 | (1) |
|
|
485 | (1) |
|
|
486 | (1) |
|
William Wordsworth (1770--1850) |
|
|
|
``The World Is Too Much with Us'' |
|
|
486 | (1) |
|
George Gordon, Lord Byron (1788-1824) |
|
|
|
|
487 | (1) |
|
Percy Bysshe Shelley (1792--1822) |
|
|
|
|
487 | (1) |
|
|
|
``On First Looking into Chapman's Homer'' |
|
|
488 | (1) |
|
|
488 | (1) |
|
Alfred, Lord Tennyson (1809--1892) |
|
|
|
|
489 | (1) |
|
Walt Whitman (1819--1892) |
|
|
|
``When I Heard the Learn'd Astronomer'' |
|
|
490 | (1) |
|
|
490 | (1) |
|
Matthew Arnold (1822--1888) |
|
|
|
|
490 | (1) |
|
Emily Dickinson (1830--1886) |
|
|
|
``Success Is Counted Sweetest'' |
|
|
491 | (1) |
|
``I'm Nobody! Who Are You?'' |
|
|
492 | (1) |
|
``Safe in Their Alabaster Chambers'' |
|
|
492 | (1) |
|
``He Put the Belt Around My Life'' |
|
|
492 | (1) |
|
``Much Madness Is Divinest Sense'' |
|
|
493 | (1) |
|
``Because I Could Not Stop for Death'' |
|
|
493 | (1) |
|
``Some Keep the Sabbath Going to Church'' |
|
|
494 | (1) |
|
Thomas Hardy (1840--1928) |
|
|
|
|
494 | (1) |
|
Gerard Manley Hopkins (1844--1889) |
|
|
|
|
495 | (1) |
|
|
495 | (1) |
|
A. E. Housman (1859--1936) |
|
|
|
``To an Athlete Dying Young'' |
|
|
496 | (1) |
|
|
497 | (1) |
|
William Butler Yeats (1865--1939) |
|
|
|
|
497 | (1) |
|
Stephen Crane (1871--1900) |
|
|
|
``A Man Said to the Universe'' |
|
|
498 | (1) |
|
|
498 | (1) |
|
Paul Laurence Dunbar (1872--1906) |
|
|
|
|
499 | (1) |
|
Robert Frost (1874--1963) |
|
|
|
|
499 | (1) |
|
|
500 | (2) |
|
|
502 | (1) |
|
|
502 | (1) |
|
|
503 | (1) |
|
Carl Sandburg (1878--1967) |
|
|
|
|
503 | (1) |
|
|
503 | (1) |
|
|
504 | (1) |
|
Wallace Stevens (1879--1955) |
|
|
|
``The Emperor of Ice Cream'' |
|
|
505 | (1) |
|
|
505 | (1) |
|
William Carlos Williams (1883--1963) |
|
|
|
|
505 | (1) |
|
|
506 | (1) |
|
D. H. Lawrence (1885--1930) |
|
|
|
|
506 | (1) |
|
|
507 | (2) |
|
|
|
``The Love Song of J. Alfred Prufrock'' |
|
|
509 | (3) |
|
Claude McKay (1890--1948) |
|
|
|
|
512 | (1) |
|
Edna St. Vincent Millay (1892--1950) |
|
|
|
``Oh, Oh, You Will Be Sorry for That Word'' |
|
|
512 | (1) |
|
|
513 | (1) |
|
Wilfred Owen (1893--1918) |
|
|
|
|
513 | (1) |
|
E. E. Cummings (1894--1962) |
|
|
|
|
514 | (1) |
|
``next to of course god america i'' |
|
|
515 | (1) |
|
|
515 | (1) |
|
``pity this busy monster, manunkind'' |
|
|
516 | (1) |
|
|
|
|
516 | (1) |
|
Stevie Smith (1902--1971) |
|
|
|
``Not Waving But Drowning'' |
|
|
517 | (1) |
|
Countee Cullen (1903--1946) |
|
|
|
|
517 | (1) |
|
Pablo Neruda (1904--1973) |
|
|
|
|
518 | (1) |
|
|
519 | (1) |
|
|
|
|
520 | (1) |
|
Theodore Roethke (1908--1963) |
|
|
|
|
521 | (1) |
|
|
521 | (1) |
|
Elizabeth Bishop (1911--1979) |
|
|
|
|
522 | (1) |
|
|
|
|
522 | (1) |
|
Robert Hayden (1913--1980) |
|
|
|
|
523 | (1) |
|
Karl Shapiro (1913--2000) |
|
|
|
|
524 | (1) |
|
Randall Jarrell (1914--1965) |
|
|
|
``The Death of the Ball Turret Gunner'' |
|
|
525 | (1) |
|
|
|
|
525 | (1) |
|
Dudley Randall (1914--2000) |
|
|
|
|
525 | (1) |
|
Dylan Thomas (1914--1953) |
|
|
|
``The Force That Through the Green Fuse Drives the Flower'' |
|
|
526 | (1) |
|
``Do Not Go Gentle into That Good Night'' |
|
|
527 | (1) |
|
Gwendolyn Brooks (1917--2000) |
|
|
|
|
527 | (1) |
|
|
528 | (1) |
|
Howard Nemerov (1920--1991) |
|
|
|
|
528 | (1) |
|
|
|
``Love Calls Us to the Things of This World'' |
|
|
529 | (1) |
|
Philip Larkin (1922--1985) |
|
|
|
|
530 | (1) |
|
James Dickey (1923--1997) |
|
|
|
|
530 | (2) |
|
Wislawa Szymborska (1923-- ) |
|
|
|
|
532 | (1) |
|
|
|
|
533 | (1) |
|
|
|
|
533 | (1) |
|
Allen Ginsberg (1926--1997) |
|
|
|
``A Supermarket in California'' |
|
|
534 | (1) |
|
James Wright (1927--1980) |
|
|
|
``Autumn Begins in Martins Ferry, Ohio'' |
|
|
535 | (1) |
|
|
|
``You All Know the Story of the Other Woman'' |
|
|
535 | (1) |
|
|
|
``Aunt Jennifer's Tigers'' |
|
|
536 | (1) |
|
Adrian Henri (1932--2000) |
|
|
|
``Any Prince to Any Princess'' |
|
|
536 | (2) |
|
Sylvia Plath (1932--1963) |
|
|
|
|
538 | (1) |
|
|
538 | (2) |
|
|
|
|
540 | (1) |
|
|
|
|
541 | (1) |
|
|
542 | (1) |
|
Imamu Amiri Baraka (1934-- ) |
|
|
|
|
542 | (1) |
|
|
|
|
543 | (1) |
|
|
|
|
544 | (1) |
|
``The Woman in the Ordinary'' |
|
|
544 | (1) |
|
|
|
|
545 | (1) |
|
John Lennon (1940--1980) and Paul McCartney (1942-- ) |
|
|
|
|
546 | (1) |
|
|
|
``The Death of Marilyn Monroe'' |
|
|
547 | (1) |
|
|
547 | (1) |
|
|
|
|
548 | (1) |
|
|
|
``My Mother Sews Blouses'' |
|
|
549 | (1) |
|
Yusef Komunyakaa (1947-- ) |
|
|
|
|
549 | (1) |
|
``My Father's Love Letters'' |
|
|
550 | (1) |
|
|
|
|
551 | (1) |
|
|
|
``In Second Grade Miss Lee I Promised Never to Forget You and I Never Did'' |
|
|
552 | (1) |
|
Jimmy Santiago Baca (1952-- ) |
|
|
|
|
553 | (1) |
|
Judith Ortiz Cofer (1952-- ) |
|
|
|
|
554 | (1) |
|
|
|
|
554 | (1) |
|
|
|
``Indian Boarding School: The Runaways'' |
|
|
555 | (1) |
|
|
|
``Coca-Cola and Coco Frio'' |
|
|
556 | (1) |
|
``Liberating a Pillar of Tortillas'' |
|
|
556 | (1) |
|
Paired Poems for Comparison |
|
|
557 | (11) |
|
Christopher Marlowe (1564--1593) |
|
|
|
``The Passionate Shepherd to His Love'' |
|
|
558 | (1) |
|
Sir Walter Raleigh (1552?--1618) |
|
|
|
``The Nymph's Reply to the Shepherd'' |
|
|
558 | (1) |
|
Robert Browning (1812--1889) |
|
|
|
|
559 | (1) |
|
|
|
|
560 | (2) |
|
Thomas Hardy (1840--1928) |
|
|
|
``The Convergence of the Twain'' |
|
|
562 | (1) |
|
David R. Slavitt (1935-- ) |
|
|
|
|
563 | (1) |
|
Edwin Arlington Robinson (1869--1935) |
|
|
|
|
564 | (1) |
|
|
|
|
564 | (1) |
|
Robert Frost (1874--1963) |
|
|
|
|
565 | (1) |
|
|
|
|
566 | (1) |
|
William Stafford (1914--1993) |
|
|
|
``Traveling Through the Dark'' |
|
|
566 | (1) |
|
|
|
|
567 | (1) |
|
|
568 | (15) |
|
Part IV Writing About Drama |
|
|
583 | (103) |
|
|
585 | (5) |
|
|
585 | (1) |
|
|
586 | (1) |
|
|
587 | (1) |
|
|
588 | (2) |
|
Chart 14-1 Critical Questions for Reading Plays |
|
|
589 | (1) |
|
Writing About Dramatic Structure |
|
|
590 | (49) |
|
What Is Dramatic Structure? |
|
|
590 | (1) |
|
Looking at Dramatic Structure |
|
|
591 | (36) |
|
|
592 | (35) |
|
|
627 | (1) |
|
Analyzing Dramatic Structure |
|
|
627 | (1) |
|
|
628 | (2) |
|
Discovering a Workable Argumentative Thesis |
|
|
628 | (1) |
|
|
629 | (1) |
|
|
630 | (1) |
|
Ideas for Responsive Writing |
|
|
630 | (1) |
|
Ideas for Critical Writing |
|
|
630 | (1) |
|
For Further Reading and Research |
|
|
631 | (1) |
|
|
631 | (1) |
|
Avoiding Unclear Language |
|
|
631 | (1) |
|
Sample Student Paper: Drama |
|
|
632 | (7) |
|
|
638 | (1) |
|
|
639 | (47) |
|
|
639 | (1) |
|
The Classical Tragic Hero |
|
|
639 | (1) |
|
|
640 | (1) |
|
Looking at the Modern Hero |
|
|
640 | (42) |
|
Tennessee Williams, The Glass Menagerie |
|
|
640 | (42) |
|
|
682 | (1) |
|
|
682 | (1) |
|
|
682 | (1) |
|
|
683 | (1) |
|
|
683 | (1) |
|
Ideas for Responsive Writing |
|
|
683 | (1) |
|
Ideas for Critical Writing |
|
|
684 | (1) |
|
For Further Reading and Research |
|
|
684 | (1) |
|
|
684 | (2) |
|
Developing Paragraphs Specifically |
|
|
685 | (1) |
|
Exercise on Providing Quotations |
|
|
685 | (1) |
|
CASEBOOK The Glass Menagerie: Interpreting Amanda |
|
|
686 | (90) |
|
Review of The Glass Menagerie |
|
|
687 | (1) |
|
|
``Diverse, Unique Amanda'' |
|
|
687 | (1) |
|
|
``Tennessee Williams' Gallery of Feminine Characters'' |
|
|
688 | (1) |
|
|
``Entering The Glass Menagerie'' |
|
|
688 | (1) |
|
|
|
689 | (3) |
|
|
Responding to the Critics |
|
|
691 | (1) |
|
For Further Reading and Research |
|
|
691 | (1) |
|
Drama for Writing: The Research Paper |
|
|
692 | (84) |
|
What Is Cultural Analysis? |
|
|
692 | (46) |
|
Looking at Cultural Issues |
|
|
693 | (1) |
|
David Henry Hwang, M. Butterfly |
|
|
693 | (45) |
|
Using Library Sources in Your Writing |
|
|
738 | (1) |
|
A Student Researcher's Process |
|
|
738 | (1) |
|
|
739 | (8) |
|
|
739 | (1) |
|
Figure 17-1 Reading Notes |
|
|
740 | (1) |
|
|
741 | (1) |
|
|
741 | (1) |
|
|
742 | (1) |
|
|
742 | (1) |
|
Chart 17-1 Internet Sources for Literature |
|
|
743 | (2) |
|
Evaluating Online Sources |
|
|
745 | (1) |
|
|
745 | (1) |
|
Chart 17-2 Selected Reference Works in Literature |
|
|
746 | (1) |
|
|
747 | (1) |
|
|
747 | (3) |
|
|
747 | (1) |
|
Writing Before Researching |
|
|
748 | (1) |
|
|
749 | (1) |
|
|
750 | (1) |
|
Ideas for Researched Writing |
|
|
750 | (2) |
|
|
750 | (1) |
|
|
751 | (1) |
|
|
752 | (1) |
|
|
752 | (1) |
|
|
752 | (1) |
|
Including Informational Notes |
|
|
753 | (1) |
|
|
753 | (1) |
|
Chart 17-3 Checklist for Accurate Documentation |
|
|
754 | |
|
Sample Documented Students Papers |
|
|
753 | (2) |
|
Paper on Drama: Final Draft |
|
|
755 | (9) |
|
Paper on a Short Story: Final Draft |
|
|
764 | (4) |
|
Explanation of the MLA Documentation Style |
|
|
768 | (8) |
|
Sample Entries for a Works Cited List |
|
|
770 | (4) |
|
Citing Electronic Publications |
|
|
774 | (2) |
|
|
776 | (283) |
|
Sophocles (ca. 496 -- ca. 405 B.C.) |
|
|
|
|
776 | (42) |
|
William Shakespeare (1564--1616) |
|
|
|
Othello, the Moor of Venice |
|
|
818 | (86) |
|
Henrik Ibsen (1828--1906) |
|
|
|
|
904 | (50) |
|
Susan Glaspell (1882--1948) |
|
|
|
|
954 | (10) |
|
|
|
|
964 | (4) |
|
Lorraine Hansberry (1930--1965) |
|
|
|
|
968 | (54) |
|
|
|
|
1022 | (8) |
|
|
|
|
1030 | (7) |
|
Wendy Wasserstein (1950-- ) |
|
|
|
|
1037 | (6) |
|
Harvey Fierstein (1954-- ) |
|
|
|
|
1043 | (16) |
|
Part V The Editing Process |
|
|
1059 | (2) |
|
A Handbook for Correcting Errors |
|
|
1061 | (29) |
|
|
1061 | (1) |
|
Correcting Sentence Boundary Errors |
|
|
1061 | (5) |
|
|
1061 | (1) |
|
|
1061 | (1) |
|
Chart A Examples of Phrases and Clauses |
|
|
1062 | (1) |
|
|
1063 | (1) |
|
|
1064 | (1) |
|
|
1065 | (1) |
|
|
1066 | (1) |
|
Clearing Up Confused Sentences |
|
|
1067 | (1) |
|
Solving Faulty Predication Problems |
|
|
1067 | (1) |
|
Fixing Subject-Verb Agreement Errors |
|
|
1068 | (2) |
|
|
1070 | (3) |
|
Correcting Shifts in Person |
|
|
1073 | (1) |
|
Correcting Shifts in Tense |
|
|
1074 | (1) |
|
Finding Modifier Mistakes |
|
|
1075 | (1) |
|
Coping with Irregular Verbs |
|
|
1076 | (1) |
|
|
1076 | (1) |
|
|
1077 | (1) |
|
Solving Punctuation Problems |
|
|
1077 | (2) |
|
Using Necessary Commas Only |
|
|
1079 | (1) |
|
|
1080 | (2) |
|
Distinguishing Hyphens from Dashes |
|
|
1082 | (1) |
|
Integrating Quotations Gracefully |
|
|
1082 | (1) |
|
Quoting from a Story: Crediting Sources |
|
|
1082 | (1) |
|
|
1083 | (1) |
|
|
1084 | (1) |
|
Punctuating Quoted Material |
|
|
1084 | (3) |
|
Writing Smooth Transitions |
|
|
1087 | (1) |
|
Catching Careless Mistakes |
|
|
1088 | (2) |
|
Appendix: Critical Approaches for Interpreting Literature |
|
|
1090 | (6) |
|
|
1090 | (1) |
|
|
1091 | (1) |
|
|
1091 | (1) |
|
|
1091 | (1) |
|
|
1092 | (1) |
|
|
1092 | (1) |
|
Mythological and Archetypal Approaches |
|
|
1093 | (1) |
|
|
1093 | (1) |
|
|
1094 | (1) |
|
|
1094 | (1) |
|
|
1095 | (1) |
Glossary of Literary and Rhetorical Terms |
|
1096 | (10) |
Credits |
|
1106 | (5) |
Index of Authors, Titles, and First Lines of Poetry |
|
1111 | (8) |
Subject Index |
|
1119 | |