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| Preface | |
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| Alternate Contents by Genre | |
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| Alternate Contents Additional Themes | |
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| Why Read Literature? | |
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| Exercise | |
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| Why Do You Read Literature? | |
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| Why Do We Read Literature? | |
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| Bridging the Gap | |
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| Responding to What You Read | |
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| Exercise | |
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| The Road Not Taken | |
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| Sample Student Response to �ǣThe Road Not Takenï¿½Ç | |
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| Commentary | |
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| Exercise | |
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| Considering Evidence to Support Your Response | |
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| Close Active Reading | |
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| Sample Oral Response to �ǣThe Road Not Takenï¿½Ç | |
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| Commentary | |
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| Exercise | |
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| Keeping a Reading Journal | |
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| Guidelines: Keeping a Reading Journal | |
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| Joining the Conversation: Ways of Talking about Literature | |
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| Butterflies (short story) | |
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| Responding to �ǣButterfliesï¿½Ç | |
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| Theme for English B (poem) | |
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| Responding to �ǣTheme for English Bï¿½Ç | |
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| The Man in a Case (play) | |
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| Responding to The Man in a Case | |
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| Education (essay) | |
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| Responding to �ǣEducationï¿½Ç | |
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| The Vocabulary of Literature | |
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| Actions and Events | |
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| Plot | |
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| Structure | |
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| Conflict | |
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| Irony of Situation | |
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| Box: Terms Related to Actions and Events | |
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| Exercises: Actions and Events | |
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| People | |
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| Characters: Listening and Observing | |
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| Listening | |
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| Observing | |
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| Characters: Growing and Changing | |
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| Characters: Point of View | |
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| Author and Speaker | |
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| Narrator | |
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| People in Nonfiction | |
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| Box: Terms Related to People | |
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| Exercises: People | |
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| Places and Times | |
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| Time and Place: The Cultures of the Work, the Writer, and the Reader | |
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| Place | |
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| Time | |
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| Box: Terms Related to Places and Times | |
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| Exercises: Places and Times | |
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| Words and Images, Sounds and Patterns | |
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| Style | |
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| Tone | |
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| Diction | |
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| Syntax | |
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| Rhythm and Rhyme | |
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| Figurative Language | |
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| Verbal Irony | |
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| Allusions | |
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| Box: Trems Related to Words and Images, Sounds and Patterns | |
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| Exercises: Words and Images, Sounds and Patterns | |
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| Ideas | |
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| Exercises: Ideas | |
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| Continuing the Conversation: Considering Genre and Listening to Other Voices | |
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| Expectations: Short Fiction, Poetry, Drama, Nonfiction | |
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| Distinctions: Short Fiction and Drama | |
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| Distinctions: Poetry | |
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| you fit into me | |
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| Distinctions: Nonfiction | |
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| An Introduction to Short Fiction | |
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| Early Forms of Fiction | |
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| Allegory | |
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| Myth | |
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| Legend | |
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| Fairy Tale | |
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| Fable | |
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| Parable | |
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| Modern Short Fiction | |
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| The Realistic Short Story | |
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| The Nonrealistic Short Story | |
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| A Word about Fiction and Truth | |
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| Guidelines: Short Fiction | |
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| An Introduction to Poetry | |
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| Suggestions for Reading Poetry | |
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| Types of Poetry | |
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| Guidelines: Poetry | |
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| An Introduction to Drama | |
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| Suggestions for Reading Drama | |
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| Traditional Forms of Drama | |
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| Modern Forms of Drama | |
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| Types of Drama | |
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| Guidelines: Drama | |
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| An Introduction to Nonfiction | |
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| Suggestions for Reading Speeches | |
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| Suggestions for Reading Letters | |
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| Suggestions for Reading Documents | |
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| Suggestions for Reading Journals and Diaries | |
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| Suggestions for Reading Essays | |
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| Guidelines: Nonfiction | |
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| Considering Other Voices | |
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| Authors��� Commentaries and Interviews | |
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| Reviews | |
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| Scholarly Criticism | |
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| Writing About Literature | |
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| Do Not Go Gentle into That Good Night | |
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| Responding to �ǣDo Not Go Gentle into That Good Nightï¿½Ç | |
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| Slipping | |
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| Responding to �ǣSlippingï¿½Ç | |
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| Preparing to Write About Literature | |
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| Understanding the Assignment | |
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| Thinking about the Assignment | |
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| Assignment Topics | |
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| Writing to Respond | |
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| Discovering Ideas: Journal Entries | |
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| Considering Audience | |
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| Narrowing the Topic | |
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| Devising a Preliminary Thesis Statement | |
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| Planning and Organizing | |
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| Drafting | |
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| �ǣChanges,ï¿½Ç Karen Angstrom (draft student paper) | |
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| Revising Focus: Titles, Openings, Conclusions | |
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| Karen Angstrom���s Revision List | |
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| Editing Focus: �ǣTo Be,ï¿½Ç Expletives, Passive Voice | |
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| Karen Angstrom���s Editing List | |
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| Proofreading Focus: Fragments and Comma Splices | |
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| Exercise | |
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| Final Copy: Writing to Respond | |
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| �ǣChanges: For Better or Worse?ï¿½Ç Karen Angstrom (Student Paper) | |
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| Exercise | |
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| Guidelines: Writing a Response | |
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| Writing to Compare | |
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| Discovering Ideas: Discussion and Collaboration | |
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| Box: Strategies for Collaborative Work | |
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| Considering Audience, Narrowing the Topic, and Devising a Preliminary Thesis | |
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| Drafting | |
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| �ǣResponses: Raging Versus Slipping,ï¿½Ç Walter Johnson (draft student paper) | |
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| Revising Focus: Transitions, Development of Ideas | |
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| Workshop Excerpt | |
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| Editing Focus: Nominalizations, Parallel Structure | |
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| Workshop Excerpt | |
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| Proofreading Focus: Subject-Verb Agreement, Tense Agreement | |
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| Workshop Excerpt | |
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| Exercise | |
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| Final Copy: Writing to Compare | |
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| �ǣResponses: Raging Versus Slipping,ï¿½Ç Walter Johnson (student paper) | |
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| Exercise | |
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| Guidelines: Writing a Comparison | |
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| Writing to Analyze | |
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| Discovering Ideas: Listing and Grouping | |
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| Excerpt from Catherine Hupel's Work | |
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| Considering Audience, Narrowing the Topic, and Devising a Preliminary Thesis | |
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| Excerpt from Catherine Hupel's Work | |
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| Planning, Organizing, and Drafting | |
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| �ǣLove and Loss in ï¿½Ç Slipping���,ï¿½Ç Catherine Hupel (draft student paper) | |
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| Revising Focus: Using and Explaining Examples | |
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| Excerpt from Catherine Hupel's Work | |
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| Exercise | |
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| Editing Focus: Word Choice | |
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| Excerpt from Catherine Hupel's Work | |
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| Exercise | |
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| Proofreading Focus: Misplaced Modifiers | |
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| Excerpt from Catherine Hupel's Work | |
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| Exercise | |
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| Final Copy: Writing to Analyze | |
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| �ǣLove and Loss in ï¿½Ç Slipping���,ï¿½Ç Catherine Hupel (student paper) | |
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| Guidelines: Writing an Analysis | |
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| Writing to Explicate | |
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| Discovering Ideas: Paraphrasing | |
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| Matt Cejak���s Paraphrases (student work) | |
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| Considering Audience, Narrowing the Topic, and Devising a Preliminary Thesis | |
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| Excerpt from Matt Cejak���s Work | |
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| Planning and Organizing | |
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| Drafting | |
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| Excerpt from Matt Cejak���s Work | |
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| Revising Focus: Summarizing Versus Analzying | |
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| Guidelines: Preparing for a Writing Conference | |
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| Excerpt from Matt Cejak���s Writing Conference | |
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| Matt Cejak���s Second Draft | |
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| �ǣExplication: ï¿½Ç Do Not Go Gentle���,ï¿½Ç Matthew Cejak (draft student paper) | |
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| Editing Focus: Conciseness | |
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| Excerpt from Matt Cejak���s Work | |
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| Exercise | |
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| Proofreading Focus: Apostrophes, Quotation Marks to Indicate Words Used in a Special Way | |
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| Excerpt from Matt Cejak���s Work | |
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| Exercise | |
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| Final Copy: Writing to Explicate | |
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| �ǣThe Power of Sound and Sight in ï¿½Ç Do Not Go Gentle���,ï¿½Ç Matthew Cejak | |
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| Exercise | |
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| Guidelines: Writing an Explication | |
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| Writing to Evaluate | |
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| Discovering Ideas: Interviewing | |
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| Joann Epstein���s Journal Entry | |
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| Considering Audience, Narrowing the Topic, and Devising a Preliminary Thesis | |
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| Excerpt from Joann Epstein���s Work | |
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| Planning and Organizing | |
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| Excerpt from Joann Epstein���s Work | |
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| Drafting | |
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| Revising Focus: Logic | |
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| Excerpt from Joann Epstein���s Work | |
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| Editing Focus: Integrating and Punctuating Quotations | |
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| Excerpt from Joann Epstein���s Work | |
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| Proofreading Focus: Pronoun Reference, Pronoun Agreement, Treatment of Titles | |
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| Excerpt from Joann Epstein���s Work | |
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| Final Copy: Writing to Evaluate | |
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| �ǣLove and Strength,ï¿½Ç Joann Epstein (student paper) | |
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| Exercise | |
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| Guidelines: Writing an Evaluation of Beliefs and Values | |
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| Argument, Critical Thinking, and Research | |
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| Argument and Critical Thinking | |
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| Definition of Argument | |
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| Purpose for Argument | |
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| "The Storm" Kate Chopin | |
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| Argument and Controversy | |
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| Determining a Thesis for Argument | |
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| Topics for Argument | |
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| Considering Audience | |
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| Exploring Ways to Refine the Thesis and Support the Argument | |
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| Close Reading | |
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| Discussion and Interviews | |
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| Library and On-line Research | |
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| Argument and Research | |
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| The Research Question | |
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| The Persuasive Research Paper | |
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| Exploring the Research Question | |
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| Resources for Research: Reference Works | |
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| Monographs and Other Books | |
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| Printed Periodicals | |
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| Online Resources | |
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| Guidelines: Locating Online Resources | |
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| Guidelines: Evaluating Internet Resources | |
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| Planning an Argument and Formulating the Thesis | |
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| Drafting an Argument | |
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| Guidelines: Rational Appeals | |
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| Revising an Argument | |
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| Using and Documenting Sources | |
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| Taking Notes | |
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| Organizing Your Notes | |
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| Summarizing and Paraphrasing | |
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| Copying Quotations | |
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| Sample Notecards | |
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| Determining What Needs to be Documentated | |
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| What Does Not Need to Be Documented | |
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| Avoiding Plagiarism | |
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| Exercise | |
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| Using and Documenting Quotations from Literary Works: MLA Style | |
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| Quoting from Poems | |
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| Quoting from Plays | |
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| Quoting from Fiction | |
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| Incorporating Material from Sources into Your Paper | |
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| Compiling a List of Works Cited | |
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| Print Resources | |
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| Oral Communication | |
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| Media and Performance Sources | |
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| Online Sources | |
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| Guidelines: Preparing the List of Works Cited | |
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| Sample of a Completed Researched Argument | |
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| �ǣA Closer Look at Bobinôt,ï¿½Ç JOSH LACHANCE (student paper) | |
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| Note: Selections that are new to the fifth edition are indicated with an asterisk | |
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| Innocence and Experience | |
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| On Reading Literature Thematically: Critical Thinking Fiction | |
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| [Each chapter begins with a brief introduction to its theme] | |
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| [�ǣConsiderationsï¿½Ç questions follow each selection] | |
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| [�ǣConnectionsï¿½Ç questions, �ǣSuggestions for Connections Across Chapters,ï¿½Ç and �ǣSuggestions for Collaborative Learningï¿½Ç conclude each chapter] | |
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| FICTION | |
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| Young Goodman Brown | |
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| Araby | |
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| And the Soul Shall Dance | |
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| The Red Convertible | |
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| The Bass, The River and Sheila Mant | |
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| Poetry | |
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| London | |
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| Spring and Fall | |
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| When I Was One and Twenty | |
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| Incident | |
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| We Real Cool | |
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| Ex-Basketball Player | |
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| Mid-Term Break | |
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| Oranges | |
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| Rain | |
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| Drama | |
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| Hamlet | |
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| Commentary: Carolyn Heilbrun, The Character of Hamlet���s Mother | |
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| *Commentary: Laura Bohannan, Shakespeare in the Bush | |
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| *Photo Essay THEN and Now : Images of Hamlet | |
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| *Film Connection: Hamlet | |
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| Essays | |
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| Salvation | |
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| Graduation in Stamps | |
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| Roots, Identity, and Culture | |
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| Fiction | |
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| The Man Who Was Almost a Man (moved from Ch. 6 in Responding 4th Ed.) | |
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| Sonny���s Blues | |
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| Cathedral | |
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| El Tonto del Barrio | |
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| The Lesson | |
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| Poetry | |
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| We Wear the Mak | |
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| Quilting | |
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| *Lucille Clifton, in the inner city | |
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| Telephone Conversation | |
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| Coca-Cola and Coco Frio | |
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| The Youngest Daughter | |
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| Latin Women Pray | |
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| New World | |
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| Evolution | |
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| Drama | |
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| �ǣMaster Haroldï¿½Ç ï¿½Ç and The Boys | |
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| Commentary | |
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| "Fugard's 'Master Harold' ï¿½Ç and The Boys | |
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| "Fugard's 'Master Harold' ï¿½Ç and The Boys (A Response to Ervin Beck) | |
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| Essays | |
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| My People | |
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| Learning to Read and Write | |
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| Love and Hate | |
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| Fiction | |
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| The Yellow Wallpaper | |
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| Commentary | |
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| Why I Wrote �ǣThe Yellow Wallpaperï¿½Ç | |
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| Roman Fever | |
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| A Jury of Her Peers | |
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| Town and Country Lovers | |
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| Second Hand Man | |
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| Poetry | |
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| Sappho, To Me He Seems Like a God | |
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| Let me not to the marriage of true minds | |
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| The Sun Rising | |
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| To His Coy Mistress | |
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| The Willing Mistress | |
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| The Passionate Shepherd to His Love | |
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| The Nymph���s Reply to the Shepherd | |
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| Separation | |
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| Lot's Wife | |
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| The Wedding Couple | |
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| The Hug | |
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| A Chinese Banquet | |
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| Drama | |
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| A Doll���s House | |
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| Trifles | |
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| Essays | |
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| We Have No �ǣRight to Happiness" | |
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| Marrying Absurd | |
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| Families | |
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| Fiction | |
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| I Stand Here Ironing | |
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| Shopping | |
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| Everyday Use | |
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| How Far She Went | |
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| "Who's Irish?" | |
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| Poetry | |
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| My Papa���s Waltz | |
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| The Possessive | |
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| Metaphors | |
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| My Son, My Executioner | |
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| Driving Lesson | |
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| Those Winter Sundays | |
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| Commentary | |
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| ï¿½Ç The Banked Fires��� of Robert Hayden���s ï¿½Ç Those Winter Sundays��� | |
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| The Old Falling Down | |
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| Terminal Resemblance | |
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| Family Plot, October | |
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| Drama | |
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| Sophocles, Oedipus Rex | |
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| Soul Gone Home | |
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| Essays | |
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| My Father's Life | |
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| A Partial Remembrance of a Puerto Rican Childhood | |
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| Photo Essay: Then and Now: Images of Families | |
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| Nature | |
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| Fiction | |
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| The Open Boat | |
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| Hills Like White Elephants | |
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| A Worn Path | |
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| Commentary | |
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| Is Phoenix Jackson���s Grandson Really Dead? | |
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| The Man to Send Rain Clouds | |
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| Poetry | |
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| Haiku | |
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| Moritake, Fallen Petals Rise | |
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| So Kan, If Only We Could | |
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| Meisetsu, City People | |
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| Kyoshi, The Snake | |
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| The Tyger | |
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| The World Is Too much With Us | |
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| La Belle Dame Sans Merci | |
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| God���s Grandeur | |
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| November Cotton Flower | |
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| Sheltered Garden | |
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| The Fish | |
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| Traveling Through the Dark | |
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| A Certain Sharpness in the Morning | |
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| Drama | |
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| Riders to the Sea | |
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| Essays | |
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| Landscape and Narrative | |
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| The Deer at Providencia | |
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| The Death of a Mothï¿½Ç | |
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| War and Power | |
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| Fiction | |
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| An Occurrence at Owl Creek Bridge | |
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| Guests of the Nation | |
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| Commentary | |
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| The Theme of Hidden Powers: Fate vs. Human Responsibility in �ǣGuests of the Nationï¿½Ç | |
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| The Shawl | |
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| The Things They Carried | |
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| The Management of Grief | |
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| Poetry | |
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| Ozymandias | |
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| The Second Coming | |
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| The Man He Killed | |
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| Dulce et Decorum Est | |
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| Gunner | |
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| What Were They Like | |
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| Facing It | |
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| The Colonel | |
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| On Hearing the Airlines Will Use a Psychological Profile to Catch Potential Skyjackers (Moved from Ch. 6, Responding 4th ed) | |
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| When the Towers Fell | |
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| Drama | |
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| Antigone | |
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| Essays | |
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| Goodbye, Saigon, Finally | |
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| And Our Flag Was Still There | |
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| To Any Would-Be Terrorists | |
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| *Photo Essay: Then and Now: Images of War | |
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| *Film Connection: Three Kings | |
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| Technology and Ethics | |
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| Fiction | |
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| The Birthmark | |
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| The Astronomer���s Wife (Moved from Chapter 8, Responding 4th ed) | |
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| Assembly Line | |
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| Videotape | |
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| My Flamboyant Grandson | |
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| Poetry | |
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| I like to see it lap the Miles | |
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| When I Heard the Learn'd Astronomer | |
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| Galileo Galilei | |
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| Power | |
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| The City Planners | |
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| maybe we'll see | |
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| The Market Economy | |
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| Amniocentesis | |
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| TV Room at the Children's Hospice | |
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| Drama | |
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| Wit | |
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| Commentaries | |
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| Review of Wit | |
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| A Professor's Passions in Life and Death | |
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| Essays | |
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| Eggs for Sale | |
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| Racial Digital Divide [?] | |
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| Death | |
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| Fiction | |
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| Old Man and Old Woman | |
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| The Black Cat | |
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| The Jilting of Granny Weatherall | |
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| A Rose for Emily | |
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| Commentary | |
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| On the Meaning of �ǣA Rose for Emilyï¿½Ç | |
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| To Hell with Dying | |
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| Poetry | |
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| Death Be Not Proud | |
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| Apparently With No Surprise | |
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| I heard a fly buzz—when I died | |
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| The Bustle in a House | |
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| To An Athlete Dying Young | |
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| e.e. cummings, Buffalo Bill's | |
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| Night Funeral in Harlem | |
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| Elegy for Jane | |
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| During a Son���s Dangerous Illness | |
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| Punishment (Moved from ch. 6, Responding 4th edition) | |
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| The Lost Boy | |
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| How to Watch Your Brother Die | |
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| Drama | |
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| On Tidy Endings | |
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| Essays | |
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| On the Fear of Death | |
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| A Crime of Compassion (Moved from Ch. 6, Responding 4th ed.) | |
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| Connections: Art and Poetry (color section) | |
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| Topics for Discussion and Writing | |
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| Sample Assignment and Student Paper | |
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| Death���s Image, Janice Moore (student paper) | |
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| The Knight, Death, and the Devil | |
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| Albrecht Durer���s Knight, Death, and the Devil | |
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| The Starry Night | |
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| Vincent van Gogh���s The Starry Night | |
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| Pieter Breughel the Elder���s Landscape with the Fall of Icarus | |
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| Musee des Beaux Arts | |
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| The Great Figure | |
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| Charles Henry Demuth���s I Saw the Figure 5 in Gold | |
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| A Midnight Diner by Edward Hopper | |
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| Edward Hopper���s Nighthawks | |
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| Nighthawks | |
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| Edward Hopper���s Nighthawks | |
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| The Scream | |
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| Edvard Munch���s The Scream | |
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| Matisse���s Dance | |
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| Henri Matisse���s Dance | |
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| The Man With the Blue Guitar | |
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| Pablo Picasso���s The Old Guitarist | |
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| Woman Before an Aquarium | |
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| Henri Matisse���s Woman Before an Aquarium | |
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| Edgar Degas: The Millinery Shop | |
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| Edgar Degas���s The Millinery Shop | |
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| Toulouse-Lautrec at the Moulin Rouge | |
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| Henri de Toulouse-Lautrec, At the Moulin Rouge | |
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| The Phantom Cart | |
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| The Phantom Cart | |
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| Rooms by the Sea | |
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| Rooms By the Sea | |
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| Dialogue | |
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| |
| Hands Holding the Void | |
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| |
| Jesus and theWoman at the Well | |
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| |
| Rembrant van Rijn, Christ and the Woman of Samaria | |
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| |
| Four Poets, Then and Now | |
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| |
| Making Connections | |
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| |
| Timeline: Key Events in the Lives of Three American Poets | |
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| |
| |
| Biography | |
| |
| |
| If I can stop on heart from breaking | |
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| |
| Wild Nights ��� Wild Nights | |
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| |
| There���s a certain Slant of light | |
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| |
| I���m Nobody! Who are you? | |
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| |
| �ǣHeavenï¿½Ç ï¿½ï¿½ï¿½ is what I cannot reach! | |
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| |
| After great pain, a formal feeling comes-- | |
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| |
| The Brain ��� is wider than the Sky ��� | |
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| |
| This is my letter to the World | |
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| |
| The Soul selects her own Society ��� | |
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| |
| I felt a Cleaving in my Mind ��� | |
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| |
| Tell all the Truth but tell it slant | |
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| |
| |
| Biography | |
| |
| |
| Mending Wall | |
| |
| |
| Home Burial | |
| |
| |
| �ǣOut, Out—�ǣ | |
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| |
| Nothing Gold Can Stay | |
| |
| |
| Stopping by Woods on a Snowy Evening | |
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| |
| Acquainted with the Night | |
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| |
| Desert Places | |
| |
| |
| A Critical Casebook on Robert Frost | |
| |
| |
| �ǣMending Wall,ï¿½Ç | |
| |
| |
| |
| From The Figure a Poem Makes | |
| |
| |
| |
| From The Indispensable Robert Frost | |
| |
| |
| |
| �ǣOne Long, Wild Conversationï¿½Ç : Robert Frost as Teacher,ï¿½Ç | |
| |
| |
| |
| *"The Place Is the Asylum": Women and Nature in Robert's Frost's Poetry | |
| |
| |
| |
| *Biography | |
| |
| |
| *The History Teacher | |
| |
| |
| *Jack | |
| |
| |
| *Going Out For Cigarettes | |
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| |
| *My Life | |
| |
| |
| *The Names | |
| |
| |
| *RITA DOVE | |
| |
| |
| *Biography | |
| |
| |
| *Geometry | |
| |
| |
| *Adolescence—I | |
| |
| |
| *Grape Sherbert | |
| |
| |
| *Adolescence--II | |
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| |
| *Daystar | |
| |
| |
| *Poem in Which I Refuse Contemplation | |
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| |
| *Missing | |
| |
| |
| Glossary of Literary Terms | |
| |
| |
| Credits | |
| |
| |
| Index of First Lines | |
| |
| |
| Index of Authors, Titles, and Subjects | |