BACKPACK
LITERATURE
An Introduction to
Fiction, Poetry, and Drama
X. J. KENNEDY
DANA GIOIA
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"X.i LN^vv-York -Boston SanyFrancisco
"VxLondpnrTpr^rito^'SydHey Tokyo Singapore Madrid
Mexico-City Munich_Parisj;.CapeTown Hong Kong Montreal
Contents
Preface
kxi
FICTION
1
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• -•'••
I
Reading a Story 3
FABLE, PARABLE, A N D T A L E
4
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W. Somerset M.augham, THE APPOINTMENT IN SAMARRA . 4
Aesop, THE FOX AND THE GRAPES 5
Chuang Tzu, INDEPENDENCE 6
Jakob and WUhelm Qrifnm, GODFATHER DEATH 8
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PLOT
n
• • • • • • •
THE SHORT STORY
13
John Updike, A &P 15
WRITING CRITICALLY
What's The Plot?
21
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WRITING ASSIGNMENT 22
FURTHER SUGGESTIONS FOR WRITING
2
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22
Point of View 23
William
Faulkner, A ROSE F O REMILY 3 0 '
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E d g a r Allan P o e , T H E T E L L - T A L E H E A R T . 3 9 i i i ; . , ,
WRITING CRITICALLY
How Point of View Shapes a Story
44
WRITING ASSIGNMENT 44
FURTHER SUGGESTIONS FOR WRITING
45
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CONTENTS
3
CONTENTS
Character 46
WRITING CRITICALLY
Katherine Anne Porter, THE JILTING
Alice Walker, EVERYDAY,USE 59
Raymond Carver, CATHEDRAL 68
OF GRANNY WEATHERALL
7
82
82
Recognizing Symbols
,•
214
WRITING ASSIGNMENT 215
'••''.' ;
FURTHER SUGGESTIONS FOR WRITING
215
92
LAKE
•"
102
8
WRITING CRITICALLY
How Time and Place Set a Story
WRITING ASSIGNMENT
120.
FURTHER SUGGESTIONS FOR WRITING
120
121
Ernest Hemingway, A CLEAN, WELL-LIGHTED
William Faulkner, BARN BURNING 132
147
PLACE
Stories for Further Reading 216
Margaret Atwood, HAPPY ENDINGS 216
Kate Chopin, THE STORY OF AN HOUR 220
Sandra Cisneros, HOUSE ON MANGO STREET 223
Nathaniel Hawthorne, YOUNG GOODMAN BROWN 225
Zora Neale Hurston, SWEAT 237
James Joyce, ARABY 249
Franz Kafka, BEFORE THE LAW 255
Jamaica Kincaid, GIRL 257
Joyce Carol Oates, WHERE. ARE YOU GOING, WHERE HAVE
Tone and Style , 122
Ha Jin, SABOTEUR
189 . ...
WRITING CRITICALLY
Amy Tan, A PAIR OF TICKETS
IRONY
Symbol 186
Shirley Jackson, THE LOTTERY 199
Ursula K. Le Quin, THE ONES WHO WALK AWAY FROM OMELAS
Setting 84
Kate Chopin, THE STORM 87
T. Coraghessan Boyle, GREASY
5
185
John Steinbeck, T H E CHRYSANTHEMUMS
WRITING ASSIGNMENT
82
FURTHER SUGGESTIONS FOR WRITING
4
184
WRITING ASSIGNMENT
185
FURTHER SUGGESTIONS FOR WRITING
WRITING CRITICALLY
How Character Creates Action
Stating the Theme
50
127
YOU BEEN?
.
259
Tim O'Brien, THETHINGS THEY CARRIED . 274
Flannery O'Connor, A GOOD MAN IS HARD TO FIND
149
290
WRITING CRITICALLY
Be Style'Conscious
159
WRITING ASSIGNMENT
160
•
FURTHER SUGGESTIONS FOR WRITING
;
POETRY
160
9
6
Theme
"305
162
Chinua Achebe, DEAD MEN'S PATH 165
Luke 15: 11-32, THE PARABLE OF THE PRODIGAL SON 168
Charlotte Perkins Qilman, THE YELLOW WALLPAPER 170
Reading a Poem 308
William Butler Yeats,
THE LAKE ISLE OF INNISFREE
LYRIC POETRY
313
D. H. Lawrence, PIANO 314
Adrienne Rich, AUNT JENNIFER'S
TIGERS
314
310
207
CONTENTS'
viii
CONTENTS
NARRATIVE POETRY
Wilfred Owen, DULCE ET DECORUM EST. 3,44 ,,,
Rhina Espaillat, BILINGUAL / BILINGUE 345
Thomas Hardy, THE WORKBOX : 346
315
Anonymous, SIR PATRICK SPENCE
Robert Frost, "OUT, O U T - "
315
317.
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W R I T I N G CRITICALLY
DRAMATIC POETRY
:
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318
Paying Attention to the Obvious
Robert Browning, MY LAST DUCHESS
319
W R I T I N G CRITICALLY
C a n a P o e m Be Paraphrased.
William
William
Stafford,
Stafford,
^
7
WRITING ASSIGNMENT 347
FURTHER SUGGESTIONS FOR WRITING
.
321 ^
323
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347 • • ,. i :.''••
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348 • ' :-
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A S K M E 322 .;;' ' . ; . " " " . " " . . . ' .
A'PARAPHRASE OF " A S K M E " 322
W R I T I N G ASSIGNMENT
.,-,,..,
:
1 1 Words 349
'
LITERAL MEANING: W H A T A POEM SAYS FIRST •, 349^
William Carlos Williams, THIS IS JUST TO SAY 350
Robert Qraves, DOWN, WANTON, DOWN! 351
John Donne, BATTER MY HEART, THREE-PERSONED GOD, FOR YOU *
1 0 Listening to a Voice 324
TONE
324
352
Theodore Roethke, MY PAPA'S WALTZ .324
Countee Cullen, FOR A LADY I KNOW 326
Anne Bradstreet,,THE "AUTHOR TO HER Book ,326
Walt Whitman, To A LOCOMOTIVE'IN WINTER 327'
Emily Dickinson, I LIKE TO SEE IT LAP THE MILES 328
Benjamin Alire Saenz, To THE DESERT 329
. ' " ; • '
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T H E VALUEOF A DICTIONARY
353
J. V. Cunningham, FRIEND, ON THIS SCAFFOLD THOMAS MORE LIES
DEAD
355
' '
Carl Sandburg, GRASS
••'.'•
355
W O R D C H O I C E A N D . W O R D ORDER•-•
T H E PERSON IN THE POEM
330
Natasha Trethewey, WHITE LIES ;330
"'
Edwin Arlington Robinson, LUKE HAVERGAL 3.32
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Ted Hughes, HAWK ROOSTING ' 333 ' '"'
William Wordsworth, 1 WANDERED LONELY AS A CLOUD
334
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356; , /
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Robert Herrick, UPON JULIA'S CLOTHES 358
Kay Ryan, BLANDEUR 360
Thomas Hardy, THE RUINED MAID 361
' :
Richard Eberhart, THE FURY OF AERIAL BOMBARDMENT
Wendy Cope, LONELY HEARTS 363
'•
•
Dorothy Wordsworthj" JOURNAL ENTRY V 335
Langston Hughes, THEME FOR ENGLISH B 336
FOR REVIEW AND FURTHER STUDY , .
Anne Stevenson, SOUS-ENTENDU 337
Francisco X. Alarcon, THE X IN MY NAME 338
William Carlos Williams, THE RED WHEELBARROW
E. E. Cummings, ANYONE LIVED IN A PRETTY HOW TOWN
Anonymous, CARNATION MILK 365'
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'Lewis Carroll, JABBERWOCKY 365 :
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IRONY
339
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362
.
364
WRITING CRITICALLY
339
Robert Creeley, O H N O 340 ••<;.
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W. H. Auden, THE UNKNOWN CITIZEN 341
• -' Sharon Olds, RITES OF PASSAGE 342 • • - : ' •
Sarah N. Cleghom, THE GOLF LINKS 343
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How Much Difference Does a Word Make?
WRITING ASSIGNMENT 367
FURTHER SUGGESTIONS FOR WRITING
,; r,
367
367
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ix
CONTENTS
CONTENTS.
WRITING CRITICALLY
1 2 Saying and.Suggesting 368
Analyzing Images 387
John Masejiield, CARGOES 369
William Blake, LONDON 370
WRITING ASSIGNMENT
372
Wallace Stevens, DISILLUSIONMENT OF TEN O'CLOCK
Timothy Steele, EPITAPH 373
Robert Frost, FIRE AND ICE 373
388
'
FURTHER SUGGESTIONS FOR WRITING
388
•••••
1 4 Figures of Speech 389
Alfred, Lord Tennyson, TEARS, IDLE TEARS
374
Emily Dickinson, WILD NIGHTS - WILD NIGHTS!
374
WHY SPEAK FIGURATIVELY?
389
.
. .
WRITING CRITICALLY
Alfred, Lord Tennyson, THE EAGLE 390
The Ways a Poem Suggests 375
William Shakespeare, SHALL I COMPARE THEE TO A SUMMER'S
WRITING ASSIGNMENT
376
FURTHER'SUGGESTIONS FOR WRITING
Howard Moss, SHALL I COMPARE THEE TO A SUMMER'S DAY?
DAY? 390
376
•
METAPHOR AND SIMILE
1 3 Imagery
392
Alfred, Lord Tennyson, FLOWER IN THE CRANNIED WALL 393
William Blake, To SEE A WORLD IN A GRAIN OF SAND 394 1
377
Ezra Pound, IN A STATION OF THE METRO 377
Taniguchi Buson, THE PIERCING CHILL I FEEL 377
T. S. Eliot, THE WINTER EVENING SETTLES DOWN
Theodore Roethke, ROOT CELLAR
;
379
383
Matsuo Basho, HEAT-LIGHTNING STREAK
Matsuo Basho, IN THE OLD STONE POOL
Denise Levertov, LEAVING FOREVER
383
Jane Kenyon, THE SUITOR
384
399
400 ,
Robert Frost, THE SECRET SITS 401
A. R. Ammons, COWARD 401
384
385
Taniguchi Buson, I GO 385
Kobayashi Issa, ONLY ONE GUY 385 :
Kobayashi Issa, CRICKET 385
Etheridge Knight, Lee Qurga, Penny Harter, Jennifer Brutschy, A
WRITING CRITICALLY
How Metaphors Enlarge a Poem's Meaning
WRITING ASSIGNMENT
401
402
FURTHER SUGGESTIONS FOR WRITING
402-
385
FOR REVIEW AND FURTHER STUDY
15 Sound
John Keats, BRIGHT STAR! WOULD I WERE STEADFAST AS
,' THOU ART 386
T. E. Hulme, IMAGE
396
FOR REVIEW AND FURTHER STUDY
Taniguchi Buson, O N THE ONE-TON TEMPLE BELL
SELECTION OF HAIKU
•• • • -
James Stephens, THE WIND 397
Margaret Atwood, You FIT INTO ME 399
John Ashbery, THE CATHEDRAL IS 399
'
Arakida Moritake, THEFALLING FLOWER
Sylvia Plath, METAPHORS 394
N. Scott Momaday, SIMILE 395
OTHER FIGURES
379
Elizabeth Bishop, THE FISH 380
Charles Simic, FORK 382
Qerard Manley Hopkins, PIED BEAUTY 383
ABOUT HAIKU
391
•
SOUND AS MEANING
386
Robert Bly, DRIVING TO TOWN LATE TO MAIL A LETTER
Stevie Smith, N O T WAVING BUT DROWNING
403
387
387
403
Alexander Pope, TRUE EASE IN WRITING COMES FROM A R T , NOT
CHANCE
404
xi
CONTENTS
CONTENTS
WiUiam Butler Yeats, WHO GOES WITH FERGUS? 406 • .;,
John Updike, RECITAL 407
......
ALLITERATION AND ASSONANCE
A. E . Housman, EIGHT O'CLOCK
407.
408
Robert Herrick, UPON JULIA'S VOICE
17 ClosedForm
FORMAL PATTERNS
.
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xiii
•"•''; " > • - c: "
436
John Keats, THIS LIVING HAND, NOW WARM AND CAPABLE
437
Robert Qraves, COUNTING THE BEATS 439
409
Alfred, Lord Tennyson, THE SPLENDOR FALLS ON CASTLE WALLS 409
BALLADS
RIME
410
Anonymous,
William Cole, O N MY BOAT ON LAKE CAYUGA
440
,,•„•....••.•,.-.
BONNY BARBARA ALLAN
440
i-.
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Dudley Randall, BALLAD OF BIRMINGHAM 443
411
Hilaire Belloc, THE HIPPOPOTAMUS 413 . •••
Qerard Manley Hopkins, GOD'S GRANDEUR 4 1 4 :
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THESONNET
444:,
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William Shakespeare, LET ME NOT TO THE MARRIAGE OF TRUE
. READING AND HEARING POEMS ALOUD
415
Michael Stillman, IN MEMORIAM JOHN COLTRANE
William Shakespeare,
MINDS
416
-
WRITING ASSIGNMENT
417
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FURTHER SUGGESTIONS FOR WRITING
416
• '.:',
Is It Possible to Write About Sound? 417
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WHERE, A N D W H Y
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Claude McKay, AMERICA
447
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447
R . S . Q w y n n , S C E N E S FROM T H E P L A Y R O O M
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448 .•-'-•.•
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448
Dylan Thomas, Do NOT GO GENTLE INTO THAT GOOD NIGHT
16 Rhythm
Robert Bridges, TRIOLET 450 .
Elizabeth Bishop, SESTINA 450
418
STRESSES A N DPAUSES
418 ' ' '
W R I T I N G CRITICALLY
•'' '•-''
Turning Points
Qwendolyn Brooks, W E REAL COOL 423 •
Alfred, Lord Tennyson, BREAK, BREAK, BREAK 423
METER
424
,
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• ^ ••'';••••'': . " ' • • • • • ' - • - • : • - a
FIRST-POEM FOR You
OTHER FORMS
;
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R o b e r t Frost* A C Q U A I N T E D W I T H T H E N I G H T K i m Adddnizio,
•'
417
,
Edna St. Vincent Millay, WHAT LIPS MY LIPS HAVE KISSED, AND
FULL FATHOM FIVE THY FATHER LIES
W R I T I N G .CRITICALLY' , /
4 4 5
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449
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452
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WRITING ASSIGNMENT 452
FURTHER SUGGESTIONS FOR WRITING
452'"'
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Max Beerbohm, O N THE IMPRINT OF THE FIRST ENGLISH EDITION OF
THE WORKS OF MAX BEERBOHM
424
Edna St. Vincent Millay, COUNTING-OUT RHYME
A.
E. Housman, WHEN I WAS ONE-AND-TWENTY
*
430 '"'430
Walt Whitman, BEAT! BEAT! DRUMS!. 431
David Mason, SONG OF THE POWERS 432
WRITING CRITICALLY
Freeze-Framing the Sound
WRITING ASSIGNMENT
••••••:
D e n i s e Levertov,
E . E . Cummings,
.
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433
453
A N C I E N T STAIRWAY
453,
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W. S. Merwin, FOR THE ANNIVERSARY OF MY DEATH
Stephen Crane, THE HEART
Ezra Pound, THE GARRET
434 • •''•
., :•.-.
B U F F A L O B I L L 'S . .457 .:.~[
458
Walt Whitman, CAVALRY CROSSING A FORD
433
FURTHER SUGGESTIONS FOR WRITING
18 Open Form
459
;
457
.
458
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Wallace Stevens, THIRTEEN WAYS OF LOOKING AT A BLACKBIRD
459
CONTENTS
CONTENTS
SEEING THE LOGIC OF OPEN FORM VERSE
MYTH AND POPULAR CULTURE
462-,
E. E. Cummings, IN JUST- 462
Carole Satyamurti, I SHALL PAINT MY NAILS RED •• • 463
Lorine Niedecker, POPCORN-CAN COVER 463
Yusef Komunyakad, FACING IT 464
Langston Hughes, I, Too 465
L
WRITING CRITICALLY
Lining
Up for Free Verse
19 Symbol
W R I T I N G CRITICALLY
Demystifying Myth
466 '
467
469
472
475
Wallace Stevens, ANECDOTE OF THE JAR
477
477
WRITING ASSIGNMENT 478
FURTHER SUGGESTIONS FOR WRITING
2 0 Myth and Narrative
478
479
Robert Frost, NOTHING GOLD CAN STAY '481
Thomas Hardy, THE OXEN 481
William Wordsworth, T H E WORLD IS TOO MUCH WITH US
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H. D., HELEN 483
ARCHETYPE
483
Louise Bogan, MEDUSA
484
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Sherman Alexie, INDIAN BOY LOVE SONG (#t) 494
Anonymous, LORD RANDALL 495 .
,
Matthew Arnold, DOVER BEACH 496
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W. H. Auden, MUSEE DES BEAUX ARTS 497
Elizabeth Bishop, ONE ART 498
WilliamBlake, T H E TYGER 4 9 9 . . , . , . ,
......
Qwendolyn Brooks, T H E PREACHER RUMINATES: BEHIND T H E SERMON
THE WAYS 501
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Judith Ortiz Cofer, QUINCEANERA
501
Samuel Taylor Coleridge, KUBLA KHAN 502
., (
Billy Collins, CARE AND FEEDING 504 ,
E. E. Cummings, SOMEWHERE I HAVE NEVER TRAVELLED,
WRITING CRITICALLY
How to Read a Symbol
,•-.,...•
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500
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Elizabeth Barrett Browning, How Do I LOVE ;THEE? LET ME COUNT
FOR REVIEW AND FURTHER STUDY
Robinson Jeffers, THE BEAKS OF EAGLES
Sara Teasdale, THE FLIGHT 476
Ted Koosor, CARRIE 476
492
2 1 Poems for Further Reading 494
!•"-•'
T. S. Eliot, THE Boston Evening Transcript 468
Emily Dickinson, THE LIGHTNING IS A YELLOW FORK
Thomas Hardy, NEUTRAL TONES 471
. ••
Matthew 13:24-30, THE PARABLE OF THE GOOD SEED
Qeorge Herbert, THE WORLD 473
—
Robert Frost, THE ROAD N O T TAKEN 474
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•
WRITING ASSIGNMENT 493,.
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FURTHER SUGGESTIONS, FOR WRITING . 493
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WRITING ASSIGNMENT 4 6 6
FURTHER SUGGESTIONS FOR W R I T I N G
485
Anne Sexton, CINDERELLA 486
Sylvia Plath, LADY LAZARUS 489
":
465
xv
482
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GLADLY BEYOND 5 0 4
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Emily Dickinson, THE SOUL SELECTS HER OWN SOCIETY 505
Emily.Dickinson, I HEARD A FLY BUZZ - WHEN.I DIED 506
Emily Dickinson, BECAUSE LCOULD NOT STOP FOR DEATH 506
John Donne, DEATH BE NOT PROUD 507
Rita Dove, SUMMIT BEACH, 1921 508
.
T. S. Eliot, THE LOVE SONG OF J. ALFRED PRUFROCK 509
Robert Frost, MENDING WALL 513
, :
Robert Frost, STOPPING BY WOODS ON A SNOWY EVENING 514
Allen Qinsberg, A SUPERMARKET IN CALIFORNIA 515
Dana Qioia, 'CALIFORNIA HILLS IN AUGUST 516
:
Thomas Hardy, THE CONVERGENCE OF THE TWAIN 516
Robert Hayden, THOSE WINTER SUNDAYS 518
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Seamus Heaney, DIGGING 519
•
Qeorge Herbert, EASTER WINGS 520
Robert Herrick, To THE VIRGINS, TO MAKE MUCH OF TIME 520
xvi
CONTENTS
CONTENTS
Qerard Manley Hopkins, SPRING AND FALL • 521 •
Qerard Manley Hopkins, THE WINDHOVER .521 , .
A . E . Housman,
To AN ATHLETE DYING, YOUNG
!
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Walt Whitman, I HEAR AMERICA SINGING
'
Richard Wilbur, THE.WRITER
522.
William Wordsworth,
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Philip Larkin, L^OME IS SO SAD , 528 •'- ..
Shirley Qeok-lin Lim, LEARNING TO LOVE AMERICA
Robert Lowell, SKUNK H O U R 529- •
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Andrew Marvell, To His COY MISTRESS ''-531f :
."••.!•
William Butler Yeats, SAILING TO BYZANTIUM 561
William Butler Yeats, W H E N You A R E O L D 563 '. ••
DRAMA
528
•
Lorine Niedecker, SORROW MOVES IN W I D E WAVES
-
2 2 Reading a Play 567
532'
534
A PLAY IN ITS ELEMENTS
535 *
Susan Qlaspell, TRIFLES
' Sharon Olds, T H E O N E GIRL AT THE BOYS' PARTY 535
Wilfred Owen, A N T H E M FOR DOOMED YOUTH 536
' Linda Pastdn, ETHICS ' ' 5 3 7 i :
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Jane Martin, BEAUTY
B E H O L D
5 4 5
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Lord Tennyson,
J o h n Updike,
Uyematsu,
587
591
WRITING CRITICALLY
WRITING ASSIGNMENT 597
FURTHER SUGGESTIONS FOR WRITING
'
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2 3 The Theater of Sophocles 598 •
TIME OF YEAR THOU MAYST IN ME
•'-•-••
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T H E THEATER OF SOPHOCLES
598'
M Y MISTRESS' EYES ARE NOTHING LIKE
ULYSSES
Dylan Thomas, FERN H I L L
,• Amy
.
Conflict Resolution 597
STAGING
THE SUN ' 546
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Percy Bysshe Shelley, OZYMANDIAS 546
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Cathy Song, STAMP COLLECTING 547
William Stafford, T H E FARM ON THE GREAT PLAINS .548
Wallace Stevens, T H E EMPEROR OF ICE-CREAM 549
Alfred,
;
538 '"'^
Henry Reed,'NXMING'OF PARTS 541
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Adrienne Rich, LIVING IN S I N 542 ,' '
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Edwin Arlington Robinson, MINIVER CH'EEVY ' 5 4 3 . .
Theodore Roeihke, ELEGY FOR JANE 544,
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William Shakespeare,
569
570
TRAGEDY AND COMEDY
Octavio Paz, Translated by Eliot Weinberger, W I T H EYES
C L O S E D 5 3 8 " '"
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SylviaPlath, DADDY 538 :
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William Shakespeare,.'THAT
565
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Marilyn Nelson, A STRANGE BEAUTIFUL WOMAN
Octavio Paz, C O N LOS OJOS CERRADOS
560
561
527
•,
John Milton, W H E N I CONSIDER HOW MY LIGHT IS SPENT
533
COMPOSED UPON WESTMINSTER BRIDGE
'!
John Keats, O N FIRST LOOKING INTO CHAPMAN'S HOMER
Marianne Moore, POETRY
558
James Wright, A U T U M N BEGINS IN MARTINS FERRY, O H I O
Randall Jarrell, T H E DEATH OF THE BALL TURRET GUNNER.. 524
Robinson Jeffers, To THE STONE-CUTTERS 524
Ben Jonson, O N M Y FIRST S O N 525
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John Keats, O D E ON A GRECIAN U R N 525
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William Carlos Williams, SPRING AND ALL 559
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Langston Hughes, THE NEGRO SPEAKS OF RIVERS 523
Langston Hughes, HARLEM [DREAM DEFERRED] 524
xvu
-552
550..,.,,.553-
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THE T E N M I L L I O N FLAMES O F L O S A N G E L E S
556
554
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T H E CIVIC ROLE OF GREEK DRAMA
600
ARISTOTLE'S CONCEPT OF TRAGEDY
601
SOPHOCLES
. , . , - , "
E X - B A S K E T B A L L PLAYER
D e r e k Walcott, T H E V I R G I N S
'
598
:
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604
T H E ORIGINS OF OEDIPUS T H E KING
604
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Sophocles, OEDIPUS THE KING (Translated by Robert Fagles)
605
xviii
CONTENTS
CONTENTS'
W R I T I N G CRITICALLY
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WRITING
Some Things Change. SomeThings Don't 656
WRITING ASSIGNMENT 656
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FURTHER'SUGGESTIONS FOR WRITING
.
657
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WILLIAM SHAKESPEARE
A NOTE ON OTHELLO
1067
2 7 Writing About Literature 1069
BEGINNING
2 4 The Theater of Shakespeare 658
THE THEATER OF SHAKESPEARE
1069
USING CRITICAL SOURCES
658
1070
GUARDING ACADEMIC INTEGRITY
660
DISCOVERING ESSAY IDEAS
660
1071
1072
William Shakespeare, OTHELLO, THE MOOR OF VENICE 661
DRAFTING AND REVISING, OR CREATIVITY VS. ANALYSIS
WRITING CRITICALLY
THE FORM OF YOUR FINISHED PAPER
Breaking the Language Barrier
773
WRITING ASSIGNMENT 773
FURTHER SUGGESTIONS FOR WRITING
ACKNOWLEDGING AND DOCUMENTING SOURCES
••'
774
CONCLUDING THOUGHTS
1085
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REFERENCE GUIDE FOR CITATIONS
775
•. .. ••.
Henrik Ibsen, A DOLL'S HOUSE (Translated by James
McFarlane) 778
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TRAGICOMEDY AND THE ABSURD
1077
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2 5 The Modern Theater m
REALISM AND NATURALISM
J
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28 Writing About a Story 1094
EXPLICATING
1094
Sample Student Essay (Explication) 1095
844
Milcha Sanchez-Scott, THE CUBAN SWIMMER; • 847
ANALYZING
WRITING CRITICALLY
Sample Student Essay (Analysis)
What's So Realistic About Realism? 863
COMPARING AND CONTRASTING
WRITING ASSIGNMENT 863
FURTHER SUGGESTIONS FOR WRITING
SUGGESTIONS FOR WRITING
864
1099
1100
1103
1104
29 Writing About a Poem 1107
26 Plays for Further Reading 865
Terrence McNally, ANDRE'S MOTHER 865
Arthur_Miller, DEATH OF A SALESMAN 869
Tennessee Williams, THE GLASS MENAGERIE 951
Robert Frost, DESIGN 1109
August Wilson, JOE TURNER'S COME AND GONE
Sample Student Essay (Explication) 1109
1008
xix
EXPLICATING
1108
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1078
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1075
xx
CONTENTS;
ANALYZING
1114
Sample Student Essay (Analysis) 1115
COMPARING AND CONTRASTING
1117
Abbie Huston Evans, WING-SPREAD 1118
Sample Student Essay (Comparison)
How T O Q U O T E A POEM
1121
SUGGESTIONS FOR WRITING.
1119
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3 0 Writing About a Play ;H27 -"; '
METHODS
How
1127
TO QUOTE A PLAY
"1129
WRITING ASSIGNMENT'"'1130
Sample Student Essay, Othello:-Tragedy or Soap Opera? ,.;1131
S U G G E S T I O N S F O R W R I T I N G ' ;. 1 1 3 6
Literary Acknowledgments
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Photo Acknowledgments
A8
Index of First Lines of Poetry
Index of Authors and Titles
Index of Literary Terms
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(inside back cover)
List of Authors (inside front cover)
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