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| Preface | |
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| Acknowledgments | |
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| Entering the Text | |
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| First Impressions: Reader Meets Text | |
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| Long Distance | |
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| How Readers Make Meaning | |
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| How Readers' Interests Shape Their Readings | |
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| How Readers Thematize | |
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| Theme for English B | |
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| How Readers' Diversity Leads Them to Make Different Meanings | |
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| Heritage | |
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| How Readers Differ from One Another | |
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| How Readers' Differences Shape What They Perceive | |
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| Home Burial | |
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| Explaining Differences Among Readers: The Role of Feelings | |
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| Dulce et Decorum Est | |
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| The Soldier | |
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| The Role of Memories, Associations, and Beliefs | |
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| from Hope Mills | |
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| Texts for Further Reading | |
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| Exploring Readings and Feelings | |
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| To Lucasta, Going to the Wars | |
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| Patterns | |
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| To a Child Born in Time of Small War | |
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| War | |
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| In Another Country | |
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| I sing of Olaf glad and big | |
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| The Loneliness of the Military Historian | |
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| Dien Bien Phu | |
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| Martial Choreograph | |
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| Exploring Readings and Memories | |
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| from Nigger: An Autobiography | |
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| Gains and Losses | |
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| Gaps: How Texts Invite Us to Read Them | |
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| Closing Gaps to Build a Reading | |
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| Pitcher | |
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| Conventions of Reading and How They Help Us Close Gaps | |
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| How Many Light-Bulb Jokes Does It Take to Chart an Era? | |
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| Types of Conventions | |
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| The Convention of Unity | |
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| I Like to See It Lap the Miles | |
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| The Convention of Coherence | |
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| Metaphors | |
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| The Convention of Significance | |
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| Nothing Gold Can Stay | |
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| How Readers (and Writers) Can Play With Conventions | |
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| Living in Sin | |
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| I Used to Live Here Once | |
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| How Groups Establish Conventions: Interpretive Communities | |
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| A and P | |
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| How Readers Challenge Conventions: Reading against the Grain | |
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| Butterflies | |
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| How Some Texts Challenge Conventions | |
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| Like the Ant. Like the Praying Mantis | |
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| What Did We Do Wrong? | |
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| Texts for Further Reading | |
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| London | |
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| from Cathedral | |
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| The Rocking-Horse Winner | |
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| A Narrow Fellow in the Grass | |
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| The Red-Headed League | |
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| How Readers Construct the World of the Text | |
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| What Is "the World of the Text"? | |
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| How the World of a Text Differs from Its Setting | |
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| Reading for World | |
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| The Ones Who Walk Away from Omelas | |
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| Distinguishing Among Worlds | |
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| Texts' Worlds | |
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| Authors' Worlds | |
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| Readers' Worlds | |
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| How Textual Worlds Relate to Cultural Values | |
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| The Greatest Man in the World | |
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| Working With Unfamiliar Text Worlds | |
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| Clay | |
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| How Author's World and Reader's World Converge | |
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| Black Swamp: A Comedy in Ten Minutes | |
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| Cultural Icons: Symbols of Worlds | |
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| The Woman Who Will Not Die | |
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| from Marilyn: A Biography | |
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| from The Fifties | |
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| Texts for Further Reading | |
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| Hoosier-ettes | |
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| from Herland | |
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| The Eve of the Spirit Festival | |
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| Presleystroika | |
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| The Death of Marilyn Monroe | |
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| Candle in the Wind | |
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| Prayer for Marilyn Monroe | |
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| Another Poem for Marilyn Monroe | |
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| Four Marilyns | |
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| Using the Text's Strategies to Build Your Reading | |
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| How Language Guides Us to Configure Meaning | |
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| The Role of Tropes | |
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| Simile | |
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| Tropes Are Cultural Conventions | |
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| Sonnet 130 | |
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| How Figurative Language Pervades Culture | |
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| How Tropes Affect Our Understanding | |
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| Types of Tropes | |
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| Metaphor | |
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| The Rose Family | |
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| Metonymy | |
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| Song: To Celia | |
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| Synecdoche | |
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| Song | |
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| The Sick Rose | |
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| Irony | |
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| To Aunt Rose | |
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| How a Trope Changes in the Course of a Text | |
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| Snow-white and Rose-red | |
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| After Apple-Picking | |
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| How a Trope Changes from Text to Text | |
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| One Perfect Rose | |
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| A Brown Girl Dead | |
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| Lily and Rose | |
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| Rose in Smoke | |
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| Texts for Further Reading | |
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| Minerva, Ohio | |
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| Harlem | |
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| Fire and Ice | |
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| Good Country People | |
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| Separating | |
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| Generic Expectations: How Readers of Narrative Know What to Expect | |
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| How We Recognize a Story | |
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| Elements of Narratives | |
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| The Minimal Story | |
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| Cultural Implications | |
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| I Wandered Lonely as a Cloud | |
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| Story, Discourse, and Plot | |
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| Where Are You Going, Where Have You Been? | |
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| Story Order and Discourse Order | |
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| Babylon Revisited | |
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| Genre: Narrative Types | |
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| How Genre Affects Theme | |
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| Design | |
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| How Genre Affects Gaps | |
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| The Murders in the Rue Morgue | |
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| Mixed Genres | |
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| Young Goodman Brown | |
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| Challenging Generic Expectations | |
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| The Working Girl | |
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| Texts for Further Reading | |
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| Carried Away | |
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| The Two | |
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| Strung Out | |
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| A Noiseless, Patient Spider | |
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| from Briar Rose | |
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| Narrative Perspectives: How Readers Follow the Story | |
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| How Narrative Perspectives Work | |
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| The Meadow Mouse | |
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| Narrative Perspectives and Point of View | |
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| Kinds of Narrators | |
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| Third-Person Omniscient Narrators | |
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| A White Heron | |
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| Limited Omniscient Narrators | |
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| Objective Narrators | |
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| Hills Like White Elephants | |
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| Indirect Narration: Filter Characters | |
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| Town and Country Lovers | |
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| First-Person Narrators | |
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| The Lesson | |
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| Unreliable Narrators | |
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| I Stand Here Ironing | |
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| Additional Perspectives | |
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| The Narratee | |
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| Engaging the Perspectives of the Characters | |
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| Engaging Multiple Perspectives | |
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| Everyday Use | |
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| Texts for Further Reading | |
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| Zagrowsky Tells | |
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| My Last Duchess | |
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| Dry September | |
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| A Jury of Her Peers | |
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| Araby | |
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| Intertextuality: How Texts Keep Going and Going and Going | |
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| What is Intertextuality? | |
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| Authorial Intentions and Intertextuality | |
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| The Destruction of Sennacherib | |
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| Very Like a Whale | |
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| A Drumlin Woodchuck | |
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| Woodchucks | |
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| Myth and Intertextuality | |
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| An Example: The Oedipus Myth | |
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| Oedipus the King | |
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| Myth | |
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| from Power Dreamers: The Jocasta Complex | |
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| Texts for Further Reading | |
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| The Gold Key | |
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| Briar Rose (Sleeping Beauty) | |
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| Sleeping Beauty | |
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| A Failure of Apology | |
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| Dover Beach | |
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| The Dover Bitch (A Criticism of Life) | |
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| The Tyger | |
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| The Beggar (After William Blake) | |
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| Capitalist Poem #7 | |
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| Socialist Poem #1 England, The Winter of Discontent, 1979--(After Campbell McGrath) | |
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| Conventions of Shared Readings: How Readers Talk with One Another about Texts | |
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| Joining the Conversation: Learning the Conventions | |
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| A Sample Conversation among Readers: On Oleanna | |
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| Oleanna | |
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| Conventions of the Review | |
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| Dogma Days | |
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| Acts of Violence | |
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| Generic Characteristics of Reviews | |
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| Other Voices: Less Formal Readings of Oleanna | |
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| Responses to Oleanna | |
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| The Academic Reading: Articles and Research Papers | |
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| A Sample Conversation between Academic Readers on "Leda and the Swan" | |
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| Leda and the Swan | |
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| from A Reader's Guide to William Butler Yeats | |
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| from W. B. Yeats: The Later Poetry | |
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| from The Destructive Vision | |
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| The Rapist in "Leda and the Swan" | |
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| Conventions of Academic Writing: Taking Account of Others' Readings | |
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| Deciding What to Include and What to Leave Out | |
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| Incorporating Other Readings into Your Own | |
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| Texts for Further Reading | |
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| The Gift Outright | |
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| Credits | |
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| Index | |