Discovering literature Book

FICTION

1. PREVIEW. The World of Fiction.
Focus on Fiction. SANDRA CISNEROS, Mericans. Writing about Literature: Starting a Short Story Journal (Materials for Writing).

2. SETTING. Landscapes of the Mind.
Focus on Setting. Settings: The Sense of Place. JAMES JOYCE, Araby. BOBBIE ANN MASON, Shiloh. YUKIO MISHIMA, Swaddling Clothes. Writing about Literature: Exploring the Setting (The Structured Paper).

3. CHARACTER. The Buried Self.
Focus on Character. The Range of Characterization. RAYMOND CARVER, The Third Thing That Killed My Father Off. ALICE MUNRO, Boys and Girls. LOUISE ERDRICH, The Red Convertible. Writing about Literature: Tracing Character (Focus on Prewriting).

4. PLOT. The Chain of Events.
Focus on Plot. Plotting the Story. BERNARD MALAMUD, The Magic Barrel. SHIRLEY JACKSON, The Lottery. WILLIAM FAULKNER, A Rose for Emily. Writing about Literature: Charting the Plot (Focus on Revision).

5. POINT OF VIEW. Windows on the World.
Focus on Point of View. Worlds of Thought and Feeling. ANTON CHEKHOV, Vanka. TILLIE OLSEN, I Stand Here Ironing. KATHERINE ANNE PORTER, The Jilting of Granny Weatherall. Writing about Literature: Sharing a Point of View (Focus on Peer Response).

6. SYMBOL. The Eloquent Image.
Focus on Symbols. The Central Symbol. MARY ROBISON, Yours. JOHN STEINBECK, The Chrysanthemums.
Juxtapositions: The Range of Interpretation. STANLEY RENNER, The Real Woman in the “The Chrysanthemums.” MARILYN M. MITCHELL, Steinbeck's Strong Women and “The Chrysanthemums.”
CHARLOTTEPERKINS GILMAN, The Yellow Wallpaper. Writing about Literature: Decoding Symbols (Two Readings of a Story).

7. THEME. The Search for Meaning.
Focus on Theme. The Thinking Reader. ALICE WALKER, Everyday Use. NATHANIEL HAWTHORNE, Young Goodman Brown. Writing about Literature: Tracing a Recurrent Theme (Comparison and Contrast).

8. STYLE. The Writer's Voice.
Focus on Style. The Challenge to Convention. ERNEST HEMINGWAY, Hills like White Elephants. FRANZ KAFKA, The Country Doctor.
Juxtapositions: Playing the Role. DOROTHY PARKER, The Standard of Living. TONI CADE BAMBARA, The Lesson.
Writing about Literature: Responding to Style (Prewriting to Draft ).

9. A WRITER IN DEPTH. Flannery O'Connor.
Focus on the Writer. Flannery O'Connor: Author and Work. A Good Man Is Hard to Find. Everything That Rises Must Converge.
Juxtapositions: The Range of Sources. FLANNERY O'CONNOR, On A Good Man Is Hard to Find” . JOYCE CAROL OATES, A Self-Portrait in Letters. ALICE WALKER, Beyond the Peacock. RICHARD GIANNONE, The Mystery of Love.
Writing about Literature: One Author in Depth (Integrating Sources).

10. PERSPECTIVES. The Reader's Response.
Focus on Critical Perspectives. Contexts for Reading. (author and critic). TONI CADE BAMBARA, Trying to Stay Centered. (formalist). STANLEY KOZIKOWSKI, Symbolism in “Hills like White Elephants.” (feminist). SANDRA M. GILBERT AND SUSAN GUBAR, Enclosure and Escape: Gilman's “The Yellow Wallpaper.” (psychoanalytic).WILFRED L. GUERIN, “Young Goodman Brown” : Id versus Superego. Writing about Literature: Examining Critical Perspectives (Documented Paper).

11. OTHER VOICES/OTHER VISIONS. A World of Stories.
KATE CHOPIN, The Story of an Hour. URSULA LE GUIN, The Ones Who Walk away from Omelas. TONI MORRISON, 1920. EDGAR ALLAN POE, The Black Cat.

POETRY

12. PREVIEW. The Voice of Poetry.
Focus on Poetry. W. S. MERWIN, Separation. The Poet's Language (image). EMILY DICKINSON, Presentiment. (metaphor). COUNTEE CULLEN, For My Grandmother. (symbol). ROBERT FROST, Stopping by Woods on a Snowy Evening. (rhyme). WILLIAM SHAKESPEARE, Fear No More the Heat of the Sun. (meter). ALFRED, LORD TENNYSON, The Eagle. (rhythm). WALT WHITMAN, A Noiseless Patient Spider. (open form). GWENDOLYN BROOKS, Truth. (theme). JUANA INÉS DE LA CRUZ, Ignorant Men. Close Reading and the Personal Response. LINDA PASTAN, Sometimes in Winter. SEAMUS HEANEY, Valediction. ALICE WALKER, New Face. The Creative Dimension. WALLACE STEVENS, Disillusionment of Ten O'Clock. IRVING HOWE, Reading “Disillusionment of Ten O'Clock” . WILLIAM CARLOS WILLIAMS, This Is Just to Say. Writing about Literature: Keeping a Poetry Journal (Suggestions for Writing).

13. PATTERN. The Whole Poem.
Focus on Pattern. ECCLESIASTES 3:1—8. WENDELL BERRY, The Peace of Wild Things. The Power of Attention. WILLIAM CARLOS WILLIAMS, Between Walls. SHARON OLDS, The Possessive. LEROY V. QUINTANA, Legacy II. THOMAS HARDY, The Darkling Thrush. The Shape of the Poem. DOROTHY PARKER, Solace. ANNE BRADSTREET, From The Vanity of All Worldly Things. KAY BOYLE, October 1954.
Juxtapositions: The Daily Cycle. N. SCOTT MOMADAY, New World. JOHN DONNE, A Lecture upon the Shadow.
Poems for Further Study. MARGE PIERCY, Simple Song. GARY SOTO, Oranges. ROBERT FROST, Fire and Ice. ADRIENNE RICH, Novella. Writing about Literature: The Whole Paper (From Notes to Revision).

14. IMAGE. The Open Eye.
Focus on Image. The Range of Images. PETER MEINKE, Sunday at the Apple Market. WILLIAM STAFFORD, At the Bomb Testing Site. MARY OLIVER, The Black Snake. THEODORE ROETHKE, My Papa's Waltz. Images and Feelings. ROBERT HAYDEN, Those Winter Sundays. WILLIAM STAFFORD, One Home. LORNA DEE CERVANTES, Freeway 280.
Juxtapositions: Writing to Commemorate. ALBERTO RIOS, The Vietnam Wall. JEFFREY HARRISON, Reflection on the Vietnam War Memorial.
Poems for Further Study. DANA GIOIA, California Hills in August. JOHN KEATS, To Autumn. T. S. ELIOT, Preludes. Writing about Literature: Looking at Imagery (Using Detail).

15. METAPHOR. Making Connections.
Focus on Metaphor. LINDA PASTAN, Anger. The Language of Metaphor. MAY SWENSON, Question. RITA DOVE, Silos. Metaphor, Simile, Personification. ROBERT BURNS, A Red, Red Rose. LANGSTON HUGHES, Dream Deferred. HOWARD NEMEROV, The Great Gull. EMILY DICKINSON, Apparently with no surprise.
Juxtapositions: The Range of Metaphor. THOMAS WYATT, My Galley Charged with Forgetfulness. WILLIAM SHAKESPEARE , Sonnet 73.
Poems for Further Study. WILLIAM SHAKESPEARE, Sonnet 29. SYLVIA PLATH, Metaphors. JOHN DONNE, A Valediction: Forbidding Mourning. Writing about Literature: Writing about Metaphor (Organizing the Paper).

16. SYMBOL. A World of Meanings.
Focus on Symbols. The Language of Symbols. DAVID WAGONER, The Other House. DENISE LEVERTOV, To One Steeped in Bitterness. PERCY BYSSHE SHELLEY, Ozymandias. Public and Private Symbols. WILLIAM BLAKE, The Tyger. ADRIENNE RICH, Aunt Jennifer's Tigers. WILLIAM BUTLER YEATS, Sailing to Byzantium.
Juxtapositions: Symbol and Allegory. CHRISTINA ROSSETTI, Uphill. WILLIAM BLAKE, A Poison Tree.
Poems for Further Study. LORNA DEE CERVANTES, Refugee Ship. MATTHEW ARNOLD, Dover Beach. JOHN KEATS, Bright Star. LUCILLE CLIFTON, my mama moved among the days. Writing about Literature: Symbols in Context (Focus on Prewriting).

17. WORDS. The Web of Language.
Focus on Words. JEFFREY HARRISON, Bathtubs, Three Varieties. The Willing Ear. REUEL DENNEY, Fixer of Midnight. WILLIAM CARLOS WILLIAMS, The Dance. MAYA ANGELOU, Phenomenal Woman. The Right Word. WILLIAM CARLOS WILLIAMS, The Red Wheelbarrow. ELIZABETH BISHOP, The Fish.
Juxtapositions: Cityscapes. WILLIAM WORDSWORTH, Composed upon Westminster Bridge, September 3, 1802. WILLIAM BLAKE, London.
The Limits of Language. JOHN MASEFIELD, Cargoes. GERARD MANLEY HOPKINS, Pied Beauty. JOHN KEATS, On First Looking into Chapman's Homer. DYLAN THOMAS, Fern Hill. Poems for Further Study, MARGARET ATWOOD, Dreams of the Animals. GERARD MANLEY HOPKINS, The Windhover. JOHN HEAVISIDE, A Gathering of Deafs. Writing about Literature: Responding to Connotations (Interpreting the Evidence).

18. FORM. Rhyme, Meter, and Stanza.
Focus on Form. OGDEN NASH, The Hunter. AMERICAN FOLK SONG, Black Is the Color. Rhyme, Alliteration, Free Verse. EMILY DICKINSON, The Soul selects her own Society. WILLIAM SHAKESPEARE, Sonnet 30.
JUXTAPOSITIONS: The Role of Rhyme. Rhythm and Meter. ROBERT FROST, Dust of Snow. PERCY BYSSHE SHELLEY, To___.
Juxtapositions: The Matter of Meter. Traditional Stanza Form. WILLIAM SHAKESPEARE, O Mistress Mine. WILLIAM SHAKESPEARE, Under the Greenwood Tree. MELVIN WALKER LA FOLLETTE, The Ballad of Red Fox. JOHN MILTON, When I Consider How My Light is Spent. EDNA ST. VINCENT MILLAY, I, Being Born a Woman and Distressed. Traditional and Open Form. WILLIAM WORDSWORTH, It Is a Beauteous Evening. ANNE SEXTON, Her Kind. SHARON OLDS, I Go Back to May 1937.
Juxtapositions: Close and Free Translation. RAINER MARIA RILKE, The Panther. (trans. Hans P. Guth). RAINER MARIA RILKE, The Panther. (trans. Robert Bly).
Poems for Further Study. POPULAR BALLAD, Lord Randal. CHRISTINE DE PISAN, Marriage Is a Lovely Thing. WILLIAM WORDSWORTH, I Wandered Lonely as a Cloud. THOMAS NASHE, A Litany in Time of Plague. Writing about Literature: Form and Meaning (First and Second Draft).

19. PERSONA. Masks and Faces.
Focus on Persona. The Autobiographical “I” . RITA DOVE, Flash Cards. SAPPHO, Letter to Anaktoria. LOUISE ERDRICH, Indian Boarding School: The Runaways. JANICE MIRIKITANI, For My Father. The Public Persona. DYLAN THOMAS, In My Craft or Sullen Art. WALT WHITMAN, I Understand the Large Hearts of Heroes. AUDRE LORDE, Coal. Imagined Selves. LOUISE BOGAN, Cassandra. MARIE LUISE KASCHNITZ, Women's Program. ROBERT BROWNING, My Last Duchess. Poems for Further Study. YUSEF KOMUNYAKAA , My Father's Love Letters. COUNTEE CULLEN, Saturday's Child. DENISE LEVERTOV, In Mind. SYLVIA PLATH, Mirror. Writing about Literature: Playing the Role (Imitation and Parody).

20. TONE. The Language of the Emotions.
Focus on Tone. The Register of Emotions. LOUISE BOGAN, The Dream. WILLIAM SHAKESPEARE, Sonnet 18. WILLIAM STAFFORD, Traveling through the Dark. DYLAN THOMAS, Do Not Go Gentle into That Good Night. N. SCOTT MOMADAY, Earth and I Gave You Turquoise. The Uses of Irony. MARTIN ESPADA, Latin Night at the Pawnshop. ANNE SEXTON, Ringing the Bells. W. H. AUDEN, The Unknown Citizen. WALT WHITMAN, A Glimpse. The Challenge of Paradox. FRANCESCO PETRARCA, Or Che 'l Ciel e la Terra e 'l Vento Tace. WILLIAM SHAKESPEARE, Sonnet 97.
Juxtapositions: Convention and Originality. ANDREW MARVELL, To His Coy Mistress. COUNTESS OF DIA, I Sing of That Which I Would Rather Hide.
Poems for Further Study. SIR JOHN SUCKLING, Song. SHARON OLDS, Quake Theory. JOY HARJO, Leaving. WILLIAM SHAKESPEARE, Sonnet 130. Writing about Literature: Responding to Tone (Reading the Clues).

21. THEME. The Making of Meaning.
Focus on Theme. Idea and Image. WILLIAM STAFFORD, Freedom. WALT WHITMAN, When I Heard the Learned Astronomer. GEORGE HERBERT, The Pulley. The Committed Poet. WILFRED OWEN, Dulce et Decorum Est. ROBERT HAYDEN, Frederick Douglass. DENISE LEVERTOV, What Were They Like?.
Juxtapositions: Poems of War. HENRY REED, Naming of Parts. RICHARD EBERHART, The Fury of Aerial Bombardment.
Poems for Further Study. BETHLYN MADISON WEBSTER, Stamps. DENISE LEVERTOV, The Mutes. ALICE WALKER, Women. Writing about Literature: Tracing a Common Theme (Comparison and Contrast).

22. MYTH AND ALLUSION. Recovered Memories.
Focus on Myth. The Range of Allusion. e. e. cummings, in Just-. WILLIAM BUTLER YEATS, Leda and the Swan. H. D. (HILDA DOOLITTLE), Helen.
Juxtapositions: The Sacrifice of Isaac. GENESIS 22:1—13. WILFRED OWEN, The Parable of the Old Men and the Young.
The Language of Myth. JUDY GRAHN, They Say She Is Veiled.
Juxtapositions: The Icarus Myth. ANNE SEXTON, To a Friend Whose Work Has Come to Triumph. DAVID WAGONER, The Return of Icarus. VASSAR MILLER, The New Icarus. WILLIAM CARLOS WILLIAMS, Landscape with the Fall of Icarus.
Modern Myths. SHARON OLDS, The Death of Marilyn Monroe. e. e. cummings, Buffalo Bill's. Poems for Further Study. WILLIAM WORDSWORTH, The World Is Too Much with Us. EDNA ST. VINCENT MILLAY, An Ancient Gesture. DONALD FINKEL, The Sirens. Writing about Literature: Reinterpreting Myth (Focus on Peer Review).

23. THREE POETS IN DEPTH. Dickinson, Frost, Brooks.
Focus on the Poet. Emily Dickinson: The Poet's Voice. Tell all the Truth but tell it slant. A Bird came down the Walk. Because I could not stop for Death. Poems for Further Study. Success is counted sweetest. There's a certain Slant of light. I'm Nobody! Who are you?. After great pain, a formal feeling comes. Much Madness is divinest Sense. I had been hungry all the Years. A narrow fellow in the Grass. My life closed twice before its close. Robert Frost: Poet and Persona. The Tuft of Flowers. Mending Wall. Design. Poems for Further Study. After Apple-Picking. The Road Not Taken. Once by the Pacific. The Oven Bird. Acquainted with the Night. One Step Backward Taken. The Night Light. Gwendolyn Brooks: Commitment and Universality. We Real Cool. Hunchback Girl: She Thinks of Heaven. Piano after War. Mexie and Bridie. The Chicago Defender Sends a Man to Little Rock. Poems for Further Study. When You Have Forgotten Sunday: The Love Story. The Preacher Ruminates behind the Sermon. The Ballad of the Light-Eyed Little Girl. The Boy Died in My Alley. Writing about Literature: The Poet and the Critics (Documented Paper).

24. PERSPECTIVES: The Age of Theory.
Focus on Critical Perspectives. (biographical). KATHA POLLITT, Anne Sexton: The Death Is Not the Life. (historical). ALFRED KAZIN, Dylan Thomas and Romanticism. (formalist). J. R. WATSON, A Close Reading of G. M. Hopkins'“God's Grandeur” . (psychoanalytic). H. EDWARD RICHARDSON AND FREDERICK B. SHROYER, Freudian Analysis and Yeats' “Second Coming” . (political). RICHARD FOERSTER, Message and Means in Jane Flanders' “The House That Fear Built.” (feminist). ADELAIDE MORRIS, A Feminist Reading of Emily Dickinson. (deconstructionist). GEOFFREY HARTMAN, Deconstructing Wordsworth's “A Slumber Did My Spirit Seal.” Poets on Poetry. DYLAN THOMAS, Notes on the Art of Poetry. RICHARD WILBUR, Letting a Poem Find Its Form. AUDRE LORDE, Poems Are Not Luxuries. DIANE WAKOSKI, On Experience and Imagination. PABLO NERUDA, Childhood and Poetry. Writing about Literature: The Essay Exam: Poetry (Preparing for Tests).

25. OTHER VOICES/OTHER VISIONS. A Gathering of Poets.
ANONYMOUS, Edward. APHRA BEHN, Song. JOHN BERRYMAN, Dream Song 14. WILLIAM BLAKE, The Lamb. LOUISE BOGAN, Women. SAMUEL TAYLOR COLERIDGE, Kubla Khan. CHITRA DIVAKARUNI, The Quilt. JOHN DONNE, Holy Sonnet 14. T. S. ELIOT, The Love Song of J. Alfred Prufrock. LAWRENCE FERLINGHETTI, Constantly risking absurdity. ALLEN GINSBERG, A Supermarket in California. LOUISE GLUCK, Gratitude. GEORGE HERBERT, The Collar. VICENTE HUIDOBRO, Ars Poetica. JOHN KEATS, Ode to a Nightingale. MAXINE KUMIN, Woodchucks. AUDRE LORDE, Conversation in Crisis. ROBERT LOWELL, Skunk Hour. EDNA ST. VINCENT MILLAY, Pity Me Not Because the Light of Day. JOHN MILTON, How Soon Hath Time. WILFRED OWEN, Anthem for Doomed Youth. EZRA POUND, The River-Merchant's Wife: A Letter. WILLIAM SHAKESPEARE, Sonnet 116. PERCY BYSSHE SHELLEY, To a Skylark. GARY SNYDER, After Work. CATHY SONG, Lost Sister. ALFRED, LORD TENNYSON, Ulysses. MILLER WILLIAMS, Thinking About Bill, Dead of AIDS. WILLIAM BUTLER YEATS, The Second Coming.

DRAMA

26. PREVIEW. The Magic of the Stage.
Focus on Drama. SUSAN GLASPELL, Trifles. Writing about Literature: Writing a Review (The Personal Response).

27. CONFLICT: The Heart of Drama.
Focus on the Central Conflict. HENRIK IBSEN, A Doll's House. Writing about Literature: Keeping a Drama Journal (Formats for Writing).

28. GREEK TRAGEDY. The Embattled Protagonist.
Focus on Greek Drama. The Definition of Tragedy. Sophocles and the Greek Stage. SOPHOCLES, Antigone. Writing about Literature: Tracing a Central Conflict (Focusing Your Paper).

29. SHAKESPEAREAN TRAGEDY. The Inner Conflict.
Focus on Shakespeare's Stage. The Enigma of Hamlet. WILLIAM SHAKESPEARE, Hamlet. Writing about Literature: Studying Character (Reading for Clues).

30. MODERN AMERICAN DRAMA. The American Dream.
Focus on Modern American Drama. In Search of the American Dream. LORRAINE HANSBERRY, A Raisin in the Sun. Writing about Literature: The Play and the Critics (Documented Paper).

31. COMEDY. A Time for Laughter.
Focus on Comedy. The Language of Comedy. OSCAR WILDE, A Proposal of Marriage. WENDY WASSERSTEIN, Tender Offer. Writing about Literature: Responding to Verbal Humor (Focus on Language).

32. NEW DIRECTIONS. Crossing the Boundaries.
Focus on New Directions. Psychological Realism. DAVID MAMET, The Cryptogram. The Search for Roots. AUGUST WILSON, How Avery Got to Be a Preacher. DAVID HENRY HWANG, The Dance and the Railroad.
Juxtapositions: A Modern Everyman. “Everyman: A Modern Abridgment.” LUIS VALDEZ, The Buck Private.
Writing about Literature: Branching Out (Independent Reading or Viewing).

33. PERSPECTIVES. The Range of Interpretation.
Focus on Critical Perspectives. The Range of Interpretation. SAMUEL TAYLOR COLERIDGE, The Romantic Hamlet. ELMER EDGAR STOLL, The Renaissance Hamlet. ERNEST JONES, The Psychoanalytic Hamlet. SANDRA K. FISCHER, The Feminist's Hamlet: Hearing Ophelia. RENÉ GIRARD, Deconstructing Hamlet. JOAN TEMPLETON, Ibsen and Feminism. ERROL DURBACH, Ibsen and Marxism. Playwrights and Critics. ARISTOTLE, On the Perfect Plot. ESTHER COHEN, Uncommon Woman: Interview with Wendy Wasserstein. DAVID D. COOPER, Idealism and Fatalism in Raisin in the Sun. Writing about Literature: Defining a Critical Term (Focus on Definition).

34. OTHER VOICES/OTHER VISIONS. The Magic of the Stage.
Tennessee Williams, The Glass Menagerie.

Biographies of Poets.
Glossary of Literary Terms.
Index of Authors, Titles, and First Lines.