| |
| |
| Preface | |
| |
| |
| |
| Reading and Writing About Literature | |
| |
| |
| Reading Literature | |
| |
| |
| Previewing | |
| |
| |
| Highlighting | |
| |
| |
| Checklist: Using Highlighting Symbols | |
| |
| |
| Maya Angelou, My Arkansas | |
| |
| |
| Annotating | |
| |
| |
| Writing About Literature | |
| |
| |
| Planning an Essay | |
| |
| |
| Considering your Audience | |
| |
| |
| Understanding Your Purpose | |
| |
| |
| Writing To Respond | |
| |
| |
| Writing To Interpret | |
| |
| |
| Writing To Evaluate | |
| |
| |
| Choosing a Topic | |
| |
| |
| Finding Something to Say | |
| |
| |
| Brainstorming | |
| |
| |
| Keeping a Journal | |
| |
| |
| Seeing Connections | |
| |
| |
| Listing | |
| |
| |
| Deciding on a Thesis | |
| |
| |
| Preparing an Outline | |
| |
| |
| Drafting an Essay | |
| |
| |
| Revising and Editing an Essay | |
| |
| |
| Strategies for Revision | |
| |
| |
| The Revision Process | |
| |
| |
| Thesis Statement | |
| |
| |
| Support | |
| |
| |
| Topic Sentences | |
| |
| |
| Introductions and Conclusions | |
| |
| |
| Sentences and Words | |
| |
| |
| Using and Documenting Sources | |
| |
| |
| Checklist: Using Sources | |
| |
| |
| Checklist: Conventions for Writing About Literature | |
| |
| |
| Three Model Student Papers | |
| |
| |
| " 'The Secret Lion': Everything Changes." "Digging for Memories." "Desperate Measures: Acts of Defiance in Trifles." FICTION | |
| |
| |
| |
| Understanding Fiction | |
| |
| |
| Defining Fiction | |
| |
| |
| The Short Story | |
| |
| |
| *Margaret Atwood, Happy Endings | |
| |
| |
| Gary Gildner, Sleepytime Gal | |
| |
| |
| A Final Note | |
| |
| |
| |
| Plot | |
| |
| |
| Conflict | |
| |
| |
| Stages of Plot | |
| |
| |
| Order and Sequence | |
| |
| |
| A Final Note | |
| |
| |
| Checklist: Writing about Plot | |
| |
| |
| Kate Chopin, The Story of an Hour | |
| |
| |
| William Faulkner, A Rose for Emily | |
| |
| |
| Lorrie Moore, How to Talk to Your Mother (Notes) | |
| |
| |
| Writing Suggestions: Plot | |
| |
| |
| |
| Character | |
| |
| |
| Round and Flat Characters | |
| |
| |
| Dynamic and Static Characters | |
| |
| |
| Motivation | |
| |
| |
| Checklist: Writing About Character | |
| |
| |
| John Updike, A and P | |
| |
| |
| Katherine Mansfield, Miss Brill | |
| |
| |
| Charles Baxter, Gryphon | |
| |
| |
| Writing Suggestions: Character | |
| |
| |
| |
| Setting | |
| |
| |
| Historical Setting | |
| |
| |
| Geographical Setting | |
| |
| |
| Physical Setting | |
| |
| |
| Checklist: Writing About Setting | |
| |
| |
| Charlotte Perkins Gilman, The Yellow Wallpaper | |
| |
| |
| *Ralph Ellison, Battle Royal | |
| |
| |
| Tillie Olsen, I Stand Here Ironing | |
| |
| |
| Writing Suggestions: Setting | |
| |
| |
| |
| Point of View | |
| |
| |
| First Person Narrator | |
| |
| |
| Unreliable Narrators | |
| |
| |
| Third Person Narrator | |
| |
| |
| Omniscient | |
| |
| |
| Limited Omniscient | |
| |
| |
| Objective | |
| |
| |
| Selecting an Appropriate Point of View | |
| |
| |
| Limited Omniscient Point of View | |
| |
| |
| First-Person Point of View (Child) | |
| |
| |
| First-Person Point of View (Adult) | |
| |
| |
| Omniscient Point of View | |
| |
| |
| Selecting An Appropriate Point of View: Review | |
| |
| |
| Checklist: Writing about Point of View | |
| |
| |
| Edgar Allen Poe, The Cask of Amontillado | |
| |
| |
| Richard Wright, Big Black Good Man | |
| |
| |
| William Faulkner, Barn Burning | |
| |
| |
| Writing Suggestions: Point of View | |
| |
| |
| |
| Style, Tone, and Language | |
| |
| |
| Style and Tone | |
| |
| |
| The Uses of Language | |
| |
| |
| Formal and Informal Diction | |
| |
| |
| Imagery | |
| |
| |
| Figures of Speech | |
| |
| |
| A Final Note | |
| |
| |
| Checklist: Writing about Style, Tone, and Language | |
| |
| |
| James Joyce, Araby | |
| |
| |
| Ernest Hemingway, A Clean, Well-Lighted Place | |
| |
| |
| Flannery O'Connor, A Good Man is Hard to Find | |
| |
| |
| Writing Suggestions: Style, Tone, and Language | |
| |
| |
| |
| Symbol and Allegory | |
| |
| |
| Literary Symbols | |
| |
| |
| Recognizing Symbols | |
| |
| |
| The Purpose of Symbols | |
| |
| |
| Allegory | |
| |
| |
| Checklist: Writing About Symbol and Allegory | |
| |
| |
| Nathaniel Hawthorne, Young Goodman Brown | |
| |
| |
| Shirley Jackson, The Lottery | |
| |
| |
| *Raymond Carver, Cathedral | |
| |
| |
| Writing Suggestions: Symbol and Allegory | |
| |
| |
| |
| Theme | |
| |
| |
| Understanding Theme | |
| |
| |
| Identifying Themes | |
| |
| |
| Checklist: Writing About Theme | |
| |
| |
| David Michael Kaplan, Doe Season | |
| |
| |
| D. H. Lawrence, The Rocking-Horse Winner | |
| |
| |
| Eudora Welty, A Worn Path | |
| |
| |
| Writing Suggestions: Theme | |
| |
| |
| |
| Fiction for Further Reading | |
| |
| |
| Chinua Achebe, Dead Man's Path | |
| |
| |
| T.Coraghessan Boyle, Greasy Lake | |
| |
| |
| Jamaica Kincaid, Girl | |
| |
| |
| Joyce Carol Oates, Where Are You Going, Where Have You Been? Tim O'Brien, The Things They Carried | |
| |
| |
| Alberto Alvaro Rfos, The Secret Lion | |
| |
| |
| Amy Tan, Two Kinds | |
| |
| |
| Alice Walker, Everyday Use | |
| |
| |
| POETRY | |
| |
| |
| |
| Understanding Poetry | |
| |
| |
| Nikki Giovanni, Poetry | |
| |
| |
| Archibald MacLeish, Ars Poetica | |
| |
| |
| Marianne Moore, Poetry | |
| |
| |
| Defining Poetry | |
| |
| |
| William Shakespeare, That Time of Year Thou Mayst in Me Behold | |
| |
| |
| Louis Zukofsky, I Walk in the Old Street | |
| |
| |
| E. E. Cummings, l(a | |
| |
| |
| Approaching Poetry | |
| |
| |
| Recognizing Kinds of Poetry | |
| |
| |
| Narrative Poetry | |
| |
| |
| Lyric Poetry | |
| |
| |
| |
| Discovering Themes in Poetry | |
| |
| |
| Adrienne Rich, A Woman Mourned by Daughters | |
| |
| |
| Raymond Carver, Photograph of my Father in His Twenty Second Year | |