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| Preface | |
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| Introduction to the Elements of Literature | |
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| How Do We Know What Terms to Use When We Talk about Our Experience with Literature? Developing a Flexible Critical Vocabulary | |
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| Critical Writing as Conversation | |
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| Critical Writing as an Extension of Reading. Langston Hughes, Harlem [poem] | |
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| Scene, Episode, and Plot | |
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| What Happened, and Why Do We Care? Edouard Boubat, Rendez-vous at the CafT La Vache Noire [image] | |
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| Incident, Scene, and Sequence | |
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| Experiencing Literature through Plot | |
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| Robert Pinsky, Poem with Lines in Any Order [poem] | |
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| Wislawa Szymborska, ABC [poem] | |
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| Episode, Impression, and Fragment | |
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| Claude Monet, Portal of Rouen Cathedral in Morning Light [image] | |
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| Experiencing Literature through Impression and Episode | |
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| Stephen Crane, An Episode of War [fiction] | |
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| Tension, Release, and Resolution | |
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| Multiple and Reflexive Plots | |
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| Memento [film] | |
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| A Note To Student Writers: Critical Reading and Understanding | |
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| Marge Piercy, Unlearning to not speak [poem] | |
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| Modeling Critical Analysis: Jamaica Kincaid, Girl [fiction] | |
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| Jamaica Kincaid, Girl [fiction] | |
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| Character | |
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| Who Is Involved, and Why Does It Matter? Building Character | |
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| Experiencing Literature through Character | |
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| Michael Chabon, from The Amazing Adventures of Kavalier & Clay [fiction] | |
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| Presenting Character | |
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| A Note To Student Writers: Leading Questions | |
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| Picturing Character | |
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| Experiencing Film and Literature through Character | |
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| Gone with the Wind [film] | |
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| Hattie McDaniel accepting her Academy Award at the Coconut Grove [image] | |
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| Rita Dove, Hattie McDaniel Arrives at the Coconut Grove [poem] | |
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| Feeling for Character | |
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| Experiencing Literature through Character | |
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| Cathy Song, Picture Bride [poem] | |
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| Robert Hayden, Those Winter Sundays [poem] | |
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| Character and Function | |
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| Judith Ortiz Cofer, My Father in the Navy: A Childhood Memory [poem] | |
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| Modeling Critical Analysis: Jamaica Kincaid, Girl [fiction] | |
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| Theme | |
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| What Does This Text Mean? Is There One Right Way to Read This Text? Theme and Thesis | |
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| Theme and Moral | |
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| Charles Perrault, Little Red Riding Hood [fiction] | |
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| James Thurber, The Girl and the Wolf [fiction] | |
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| Calvin Coolidge [image] | |
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| MGM Lion [image] | |
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| Girl Devoured by Wolf [fiction] | |
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| Experiencing Literature through Theme | |
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| Marge Piercy, A Work of Artifice [poem] | |
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| Multiple Themes in a Single Work | |
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| Experiencing Literature through Theme | |
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| Maxine Hong Kingston, The Wild Man of the Green Swamp [fiction] | |
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| When the Message Is Unwanted | |
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| Triumph of the Will [film] | |
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| A Note To Student Writers: Discovering What You Want to Say | |
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| Modeling Critical Analysis: Jamaica Kincaid, Girl [fiction] | |
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| Point of View | |
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| How Do We Know What We Know about What Happened? Perspective | |
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| Albrecht Dnrer, Working on Perspective [image] | |
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| Masaccio, Trinity [image] | |
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| Plan and elevation of Masaccio+s Trinity [image] | |
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| Dorothy Parker, Penelope [poem] | |
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| A Note To Student Writers: Distinguishing Author from Speaker | |
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| The Narrative Eye | |
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| Caspar David Friedrich, Wanderer above the Sea of Fog [image] | |
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| Caspar David Friedrich, Woman in the Morning Light [image] | |
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| Reliable and Unreliable Narrators | |
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| Third-Person Narrators | |
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| Charles Dickens, from A Christmas Carol [fiction] | |
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| First-Person Narrators | |
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| Experiencing Literature through Point of View | |
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| Wendell Berry, The Vacation [poem] | |
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| Film Focus and Angles | |
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| The Magnificent Ambersons [film] | |
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| Citizen Kane [film] | |
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| Trapped [film] | |
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| Nosferatu [film] | |
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| Henry Taylor, After a Movie [poem] | |
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| Experiencing Film through Point of View | |
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| Rear Window [film] | |
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| Shifting Perspectives | |
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| Stevie Smith, Not Waving but Drowning [poem] | |
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| Experiencing Literature through Perspective | |
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| Charles Sheeler, River Rouge Plant Stamping Press [image] | |
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| Philip Levine, Photography 2 [poem] | |
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| Frank X | |
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| Gaspar, It Is the Nature of the Wing [poem] | |
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| Modeling Critical Analysis: Robert Browning, My Last Duchess [poem] | |
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| Robert Browning, My Last Duchess [poem] | |
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| Setting | |
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| Where and When Does This Action Take Place? Why Does It Make a Difference? Place and Time | |
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| Greetings from Fargo postcard [image] | |
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| A Note To Student Writers: Descriptive Summaries | |
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| Experiencing Literature t | |