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| Preface | |
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| About the Author | |
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| Making Connections | |
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| Participation: Personal Response and Critical Thinking | |
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| The Personal Dimension of Reading Poetry | |
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| Personal Response and Critical Thinking | |
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| Writing to Learn | |
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| Keeping a Journal or Reading Log | |
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| Double-Entry Journals and Logs | |
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| The Social Nature of Learning: Collaboration | |
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| Personal, Not Private | |
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| Ourselves as Readers | |
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| Different Kinds of Reading | |
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| Advice to My Son | |
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| Making Connections | |
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| Images of Ourselves | |
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| Zimmer in Grade School | |
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| Culture, Experience, and Values | |
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| Incident | |
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| Those Winter Sundays | |
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| Barbie Doll | |
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| Being in the Moment | |
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| Birmingham Bomb Kills 4 Negro Girls | |
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| Riots Flare | |
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| Boys Slain | |
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| (from New York Times) | |
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| Ballad of Birmingham | |
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| The Whole and Its Parts | |
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| Participating, Not Solving | |
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| Responding to Language | |
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| Denotation and Connotation | |
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| The Naked and the Nude | |
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| Using our Imaginations | |
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| Writing to Imagine: Creating Images through Comparison | |
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| Woman | |
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| Creating Images through Concrete Sensory Descriptions | |
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| Simple Truths | |
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| The Traveling Onion | |
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| Communication: Writing About Poetry | |
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| The Response Essay | |
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| Voice and Writing | |
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| Voice and Response to Poetry | |
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| Writing to Describe | |
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| Choosing Details | |
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| Choosing Details from Poetry | |
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| Writing to Compare | |
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| Comparing and Contrasting Using a Venn Diagram | |
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| Possible Worlds | |
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| Response to Poetry: Describing and Comparing | |
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| Staying Anchored in the Poem | |
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| From First Response to Final Draft | |
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| Using First Responses | |
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| Extending Ideas | |
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| Semantic Mapping or Clustering | |
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| Mix and Match | |
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| Collaboration | |
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| The Response Essay: Composing a Draft | |
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| Student First Draft | |
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| Revision | |
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| Organization and Unity | |
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| Showing Support | |
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| Clarity | |
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| Voice | |
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| Student Revised Draft | |
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| Analysis And Argumentation | |
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| Exploration and Analysis: The Elements of Poetry | |
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| Your First Response | |
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| Close Reading | |
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| Annotating the Text | |
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| Ozymandias | |
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| Poetry in Its Many Contexts | |
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| Your Critical Approach | |
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| Interpretive Communities | |
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| Reading and Analyzing Poetry | |
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| Language and Style | |
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| Voice | |
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| Tone | |
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| War Is Kind | |
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| Imagery | |
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| The Word 'Plum | |
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| Meeting at Night | |
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| Figurative Language: Everyday Poetry | |
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| A Dream Deferred | |
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| Simile | |
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| Fog | |
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| Oread, H.D | |
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| The Wind | |
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| The Guitarist Tunes Up | |
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| Symbol | |
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| The Road Not Taken | |
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| The Hug | |
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| Sound and Structure | |
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| Finding the Beat: Limericks | |
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| Rhyme, Alliteration, Assonance | |
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| Meter | |
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| Formal Verse | |
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| Sonnet #29 | |
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| Love Is Not All | |
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| Blank Verse | |
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| Free Verse | |
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| When I Heard the Learn'd Astronomer | |
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| Interpretation: What Does the Poem Mean? | |
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| Explication | |
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| Theme or Moral | |
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| Types of Poetry | |
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| Lyric Poetry | |
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| Narrative Poetry | |
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| Getting Ideas for Writing about Poetry | |
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| Pigeon Woman | |
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| Generating Ideas for Writing | |
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| Argumentation: Interpreting and Evaluating Poetry | |
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| The Critical Essay | |
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| Choosing a Topic: Process and Product | |
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| Writing to Analyze or Explicate | |
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| Writing to Compare | |
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| Writing about the Beliefs or Actions of the Speaker | |
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| Writing about Poetry in Context | |
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| Critical Thinking: Induction and Substantiation | |
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| Thinking Critically about Poetry | |
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| Facts and Opinions | |
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| Ex-Basketball Player | |
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| Supporting Connections | |
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| Interpretation: What Do You Think It Means? | |
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| A Defensible Interpretation, Not the Right Answer | |
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| Developing an Interpretation | |
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| Language and Form | |
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| The Speaker | |
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| The Whole: Theme | |
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| Beliefs or Actions Expressed by the Speaker or Characters | |
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| The Work in Context | |
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| Interpretation or Evaluation | |
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| Evaluation: How Well Does It Work? | |
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| Developing Standards | |
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| Developing Standards for Evaluating Poetry | |
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| Your Own Standards: Expectations and Intentions | |
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| Standards for Evaluating Poetry | |
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| Generating Ideas for a Critical Essay | |
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| Argumentation: Writing a Critical Essay | |
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| The Shape of an Argument | |
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| Planning Your Argument | |
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| Supporting Your Argument | |
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| Opening, Closing, and Revising Your Argument | |
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| A Student's Critical Essay: Explication and Evaluation | |
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| An Anthology Of Poetry | |
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| On the Amtrak from Boston to New York City | |
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| Dusting | |
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| Phenomenal Woman | |
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| To Live in the Borderlands Means You | |
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| Dover Beach | |
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| Siren Song | |
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| You Fit Into Me | |
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| The Unknown Citizen | |
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| The Mother | |
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| We Real Cool | |
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| London | |
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| The Chimney Sweeper | |
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| To See a World in a Grain of Sand | |
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| In the Waiting Room | |
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| The Fish | |
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| One Art | |
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| Porphyria's Lover | |
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| Jabberwocky | |
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| Sweet Mama Wanda Tells Fortunes for a Price | |
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| Victoria's Secret | |
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| My Father in the Navy: A Childhood Memory | |
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| A Man Said to the Universe | |
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| Incident | |
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| anyone lives in a pretty how town, e.e. cummings | |
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| somewhere I have never traveled | |
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| Icarus Again | |
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| I heard a fly buzz - | |
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| when I died | |
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| Tell all the truth but tell it slant | |
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| After great pain, a formal feeling comes | |
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| Much Madness is divinest Sense | |
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| She Sweeps with many-colored brooms | |
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| There is a certain slant of light | |
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| Success is Counted Sweetest | |
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| The Flea | |
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| Death Be Not Proud | |
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| A Valediction Forbidding Mourning | |
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| Brilliance | |
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| We Wear the Mask | |
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| The Love Song of Alfred J. Prufrock | |
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| Late Night at the Pawn Shop | |
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| Constantly Risking Absurdity | |
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| Pitcher | |
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| Fire and Ice | |
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| Mending Wall | |
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| Out, Out . . . | |
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| Losses that Turn Up in Dreams | |
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| A Supermarket in California | |
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| Nikki-Rosa | |
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| Snowdrops | |
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| Ella, in a Square Apron, Along Highway 80 | |
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| Sonnet Ending with a Film Subtitle | |
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| Hap | |
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| The Man He Killed | |
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| Digging | |
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| Mid-Term Break | |
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| Pied Beauty | |
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| The Loveliest of Trees | |
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| When I was one-and-twenty | |
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| I, Too | |
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| The Negro Speaks of Rivers | |
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| Secretary | |
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| When I have Fears That I May Cease to Be | |
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| Saint Francis and the Sow | |
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| The Dead Shall Be Raised Incorruptible | |
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| Night Sounds | |
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| Facing It | |
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| After Love | |
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| Aubade | |
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| This Be the Verse | |
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| How To Watch Your Brother Die | |
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| The Gift | |
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| Patterns | |
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| Ars Poetica | |
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| The Passionate Shepherd to His Love | |
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| To His Coy Mistress | |
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| America | |
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| If I Should Learn, in Some Quite Casual Way | |
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| Lament | |
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| What Lips My Lips have Kissed, and Where, and Why | |
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| How Soon Hath Time | |
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| When I Consider How My Light Is Spent | |
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| For My Father | |
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| Poetry | |
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| Immigrants | |
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| Ode to My Socks | |
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| Sex Without Love | |
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| 35/10 | |
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| Dulce et Decorum Est Pro Patria Mori | |
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| Marks | |
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| To Be of Use | |
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| Mirror | |
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| The Nymph's Reply | |
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| Diving into the Wreck | |
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| Rape | |
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| Mourning Picture | |
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| The Purpose of Altar Boys | |
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| Mr. Flood's Party, Edwin Arlington Robinson | |
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| Richard Cory | |
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| Elegy for Jane | |
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| My Papa's Waltz | |
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| Grass | |
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| Cinderella | |
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| Pain for a Daughter | |
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| Shall I Compare Thee to a Summer's Day (Sonnet 18) | |
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| Let Me Not to the Marriage of True Minds (Sonnet 116) | |
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| My Mistress's Eyes Are Nothing Like the Sun (Sonnet 130) | |
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| When My Love Swears That She Is made of Truth (Sonnet 138) | |
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| That Time of Year Thou Mayst in Me Behold (Sonnet 73) | |
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| The Pleasure of Reading | |
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| Telephone Conversation | |
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| The Youngest Daughter | |
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| Traveling Through the Dark | |
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| The Emperor of Ice Cream | |
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| Ulysses | |
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| Do Not Go Gentle Into that Good Night | |
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| The Force that through the Green Fuse Drives the Flower | |
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| Reapers | |
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| The Mosquito | |
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| From Song of Myself | |
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| At the Ball Game | |
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| This Is Just to Say | |
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| Composed on Westminster Bridge | |
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| I Wandered Lonely as a Cloud | |
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| My Heart Leaps Up | |
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| A Blessing | |
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| The Question of Loyalty | |
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| Nighthawks | |
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| The Lake Isle of Innisfree | |
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| When You Are Old | |
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| Case Study on Poems and Painting: Thinking About Interpretation, Poetry, and Painting | |
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| Landscape with the Fall of Icarus | |
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| Mus�e des Beaux Arts | |
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| Icarus Again | |
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| Crucificxion | |
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| Before an Old Painting of the Crucifixion | |
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| Nighthawks | |
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| Nighthawks | |
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| The Starry Night | |
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| The Starry Night | |
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| The Love Letter | |
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| When a Woman Holds a Letter | |
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| The Old Guitarist | |
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| The Man with the Blue Guitar | |
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| Mourning Picture | |
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| Mourning Picture | |
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| The Gleaners | |
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| The Clark Institute: Labor Day, 1999 | |
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| Critical Approaches to Literature | |
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| Research and Documentation: Writing with Secondary Sources | |
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| Documentation-Some Basics | |
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| What Must Be Documented | |
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| Where and How | |
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| Evaluating Sources from the Internet | |
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| Plagiarism | |
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| The Physical Layout of the Research Essay | |
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| Documentation-MLA Style | |
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| Citing Sources in the Text of the Essay | |
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| Works Cited Documentation | |
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| Electronic Sources | |
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| Other Sources | |
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| Sample Works Cited | |
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| A Glossary of Literary Terms | |
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| Indices | |