To the Student. PART 1. FICTION. Introduction: Reading Fiction Critically. James Alan McPherson, ldquo;A Loaf of Bread.rdquo; Plot and Structure. Diana Chang, ldquo;The Oriental Contingent.rdquo; Point of View and Focalization. Alberto Rios, ldquo;Johnny Ray.rdquo; Character. Maxine Chernoff, ldquo;Bop.rdquo; Setting. Charles Johnson, ldquo;China.rdquo; Metaphor. John Edgar Wideman, ldquo;Rock River.rdquo; Theme. Taint Abbasi, ldquo;Sari Petticoats.rdquo; From Reading to Interpretation and Criticism. Writing about Fiction. Stories for Further Reading. Nathaniel Hawthorne, ldquo;Young Goodman Brown.rdquo; Herman Melville, ldquo;Benito Coreno.rdquo; Leo Tolstoy, ldquo;The Death of Ivan… Ilyitch,rdquo; tr. Constance Garnett. Sarah Orne Jewett, ldquo;A White Heron.rdquo; Kate Chopin, ldquo;The Story of an Hour.rdquo; Mary E. Wilkins Freeman, ldquo;The Revolt of 'Mother'. Anton Chekhov, rdquo;The Lady with a Dog," tr. Constance Garnett. James Joyce, ldquo;The Boarding House.rdquo; Virginia Woolf, ldquo;An Unwritten Novel.rdquo; D.H. Lawrence, ldquo;The Horse Dealer's Daughter.rdquo; William FauIkner, ldquo;Barn Burning.rdquo; Ernest Hemingway, ldquo;The Snows of Kilimanjaro.rdquo; Jorge Luis Borges, ldquo;The Garden of Forking Paths.rdquo; Toshio Mori, ldquo;Toshio Mori.rdquo; TiIlie Olsen, ldquo;I Stand Here Ironing.rdquo; Mary TallMountain ldquo;The Sinh of Niguudzagha.rdquo; Wakako Yamauchi, ldquo;And the Soul Shall Dance.rdquo; Rolando Hinojoso-Smith, ldquo;One of Those Things.rdquo; Paule Marshall, ldquo;Barbados.rdquo; Hugo Martinez-Serros, ldquo;Learn! Learn!rdquo; Toni Morrison, ldquo;See mother mother is very nice.rdquo; Gerald Haslam, ldquo;Hawk's Flight: An American Fable.rdquo; Joyce Carol Oates, ldquo;Where Are You Going, Where Have You Been?rdquo; Raymond Carver, ldquo;What We Talk About When We Talk About Love.rdquo; Toni Cade Bambara, ldquo;Medley.rdquo; Maxine Hong Kingston, ldquo;No Name Woman.rdquo; Bharati Mukherjee, ldquo;The Management of Grief.rdquo; Simon J. Ortiz, ldquo;Kaiser and the War.rdquo; Leslie Marmon Silko, ldquo;Yellow Woman.rdquo; Kim Chi-won, ldquo;A Certain Beginning.rdquo; Stuart Dybek, ldquo;Chopin in Winter.rdquo; Ann Beattie, ldquo;Weekend.rdquo; Linda Hogan, ldquo;Aunt Moon's Young Man.rdquo; Amy Tan, ldquo;Two Kinds.rdquo; Louise Erdrich, ldquo;American Horse.rdquo; Julia Alvarez, ldquo;Daughter of Invention.rdquo; Don Belton, ldquo;My Soul Is a Witness.rdquo; Becky Birtha, ldquo;Johnieruth.rdquo; Michelle Cliff, ldquo;IllCould Write This in Fire I Would Write This in Fire.rdquo; Steven Cotbin, ldquo;Upward Bound.rdquo; Michael Martone, ldquo;Fort Wayne is Seventh on Hitler's List. A Fiction Casebook. Introduction. Charlotte Perkins Gilman, rdquo;The Yellow Wallpaper." Charlotte Perkins Gilman, ldquo;Why I WroteThe Yellow Wallpaper? The Forerunner,October, 1913. Elaine R. Hedges, rdquo;Afterword" to The Yellow Wallpaper by Charlotte Perkins Gilman. Old Westbury, N.Y.: Feminist Press, 1973. Paula A. Treichler, ldquo;Escaping the Sentence: Diagnosis and Discourse inThe Yellow Wallpaper,rdquo; Tulsa Studies in Women's Literature"3 (1984): 61-77. Karen Ford, The Yellow Wallpaper and Women's Discourse," Tulsa Studies in Women's Literature 4 (1985). Carol Thomas Neely, ldquo;Alternative Women's Discourse,rdquo;Tulsa Studies in Women's Literature4 (1985). Paula A, Treichler, ldquo;The Wall Behind the Yellow Wallpaper: Response to Carol Noely and Karen Ford,rdquo; Tulsa Studies in Women's Literature 4 (1985). Writing from Sources: Fiction. PART II. POETRY. Introduction: Reading Poetry Critically. John Donne, ldquo;The Sun Rising.rdquo; Samuel Ta