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| To the Instructor | |
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| Introduction | |
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| The Process of Reading, Responding to, and Writing | |
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| About Literature | |
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| What Is Literature, and Why Do We Study It? | |
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| Types of Literature: The Genres | |
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| Reading Literature and Responding to It Actively | |
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| Alice Walker, Everyday Use | |
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| Reading and Responding in a Computer File or Notebook | |
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| Major Stages in Thinking and Writing About Literary Topics: Discovering Ideas, Preparing to Write, Making an Initial Draft of Your Essay, and Completing the Essay | |
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| Discovering Ideas ("Brainstorming") | |
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| Box: Essays and Paragraphs-Foundation Stones of Writing | |
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| Preparing to Write | |
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| Box: The Need for the Actual Physical Process of Writing | |
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| Making an Initial Draft of Your Assignment | |
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| Box: The Need for a Sound Argument in Writing About Literature | |
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| Box: Referring to the Names of Authors | |
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| Box: The Use of Verb Tenses in the Discussion of Literary Works | |
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| Illustrative Paragraph | |
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| Commentary on the Paragraph | |
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| Illustrative Essay: Mrs. Johnson's Overly Self-Assured Daughter, Dee, in Walker's "Everyday Use" | |
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| Completing the Essay: Developing and Strengthening Your Essay Through Revision | |
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| Illustrative Student Essay (Revised and Improved Draft) | |
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| Illustrative Essay (Revised and Improved Draft): Mrs. Johnson's Overly Self-Assured Daughter, Dee, in Alice Walker's "Everyday Use" | |
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| Commentary on the Essay | |
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| Essay Commentaries | |
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| A Summary of Guidelines | |
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| Writing Topics About the Writing Process | |
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| A Short Guide to Using Quotations and Making References in Essays About | |
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| Literature | |
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| Writing Essays on Designated Literary Topics | |
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| Writing About Plot: The Development of Conflict and Tension in Literature | |
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| Plot: The Motivation and Causality of Literature | |
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| Determining the Conflicts in a Story, Drama, or Narrative Poem | |
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| Writing About the Plot of a Particular Work | |
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| Organize Your Essay About Plot | |
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| Illustrative Essay: The Plot of Eudora Welty's "A Worn Path" | |
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| Commentary on the Essay | |
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| Writing Topics About Plot | |
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| Writing About Point of View: The Position or Stance of the Work's Narrator or Speaker | |
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| An Exercise in Point of View: Reporting an Accident | |
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| Conditions That Affect Point of View | |
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| Box: Point of View and Opinions | |
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| Determining a Work's Point of View | |
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| Box: Point of View and Verb Tense | |
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| Summary: Guidelines for Point of View | |
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| Writing About Point of View | |
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| Illustrative Essay: Shirley Jackson's Dramatic Point of View in "The Lottery" | |
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| Commentary on the Essay | |
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| Writing Topics About Point of View | |
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| Writing About Character: The People in Literature | |
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| Character Traits | |
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| How Authors Disclose Character in Literature | |
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| Types of Characters: Round and Flat | |
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| Reality and Probability: Verisimilitude | |
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| Writing About Character | |
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| Illustrative Essay: The Character of Minnie Wright of Glaspell's "Trifles" | |
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| Commentary on the Essay | |
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| Writing Topics About Character | |
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| Writing About a Close Reading: Analyzing Entire Short Poems or Selected Short Passages from Fiction, Longer Poems, and Plays | |
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| The Purpose and Requirements of a Close-Reading Essay | |
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| The Location of the Passage in a Longer Work | |
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| Writing About the Close Reading of a Passage in Prose Work, Drama, | |
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| or Longer Poem | |
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| Box: Number the Passage for Easy Reference | |
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| Illustrative Essay: A Close Reading of a Paragraph from Frank O'Connor's | |
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| Story "First Confession" | |
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| Commentary on the Essay | |
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| Writing an Essay on the Close Reading of a Poem | |
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| Illustrative Essay: A Close Reading of Thomas Hardy's "The Man He Killed" | |
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| Commentary on the Essay | |
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| Writing Topics for a Close-Reading Essay | |
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| Writing About Structure: The Organization of Literature | |
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| Formal Categories of Structure | |
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| Formal and Actual Structure | |
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| William Shakespeare, Sonnet 73: That Time of Year Thou Mayst in Me Behold | |
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| Writing About Structure in Fiction, Poetry, and Drama | |
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| Organize Your Essay About Structure | |
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| Illustrative Essay: The Structure of Eudora Welty's "A Worn Path" | |
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| Commentary on the Essay | |
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| Writing Topics About Structure | |
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| Writing About Setting: The Background of Pace, Objects, and Culture in Literature | |
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| What Is Setting? | |
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| The Importance of Setting in Literature | |
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| Writing About Setting | |
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| Organize Your Essay About Setting | |
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| Illustrative Essay: Maupassant's Use of Setting in "The Necklace" to Show the Character of Mathilde | |
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| Commentary on the Essay | |
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| Writing Topics About Setting | |
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| Writing About an Idea or Theme: The Meaning and the "Message" in Literature | |
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| Ideas and Assertions | |
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| Ideas and Values | |
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| The Place of Ideas in Literature | |
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| How to Locate Ideas | |
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| Writing About a Major Idea in Literature | |
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| Organize Your Essay on a Major Idea or Theme | |
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| Illustrative Essay: The Idea of the Importance of Minor and "Trifling" Details in Susan Glaspell's Trifles | |
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| Commentary on the Essay | |
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| Special Topics for Studying and Discussing Ideas | |
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| Writing About Imagery The Literary Work's Link to the Senses | |
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| Responses and the Writer's Use of Detail | |
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| The Relationship of Imagery to Ideas and Attitudes | |
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| Types of Imagery | |
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| Writing About Imagery | |
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| Organize Your Essay About Imagery | |
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| Illustrative Essay: The Images of Masefield's "Cargoes" | |
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| Commentary on the Essay | |
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| Writing Topics About Imagery | |
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| Writing About Metaphor and Simile: A Source of Depth tand Range in Literature | |
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| Metaphors and Similes: The Major Figures of Speech | |
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| Characteristics of Metaphors and Similes | |
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| John Keats,On First Looking into Chapman's Homer | |
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| Box: Vehicle and Tenor | |
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| Writing About Metaphors and Similes | |
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| Organize Your Essay About Metaphors and Similes | |
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| Illustrative Essay: Shakespeare's Metaphors in "Sonnet 30: | |
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| When to the Sessions of Sweet Silent Thought" | |
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| Commentary on the Essay | |
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| Writing Topics About Metaphors and Similes | |
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| Writing About Symbolism and Allegory : Keys to Extended Meaning | |
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| Symbolism and Meaning | |
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| Allegory | |
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| Fable, Parable, and Myth | |
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| Allusion in Symbolism and Allegory | |
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| Writing About Symbolism and Allegory | |
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| Organize Your Essay About Symbolism or Allegory | |
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| Illustrative Essay (Symbolism in a Poem): Symbolism in William Butler Yeats's | |
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| "The Second Coming" | |
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| Commentary on the Essay | |
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| Illustrative Essay (Allegory in a Story): The Allegory of Nathaniel Hawthorne's "Young Goodman Brown" | |
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| Commentary on the Essay | |
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| Writing Topics About Symbolism and Allegory | |
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| Writing About T one : The Writer's Control over Attitudes and Feelings | |
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| Tone and Attitudes | |
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| Tone and Humor | |
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| Tone and Irony | |
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| Writing About Tone | |
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| Organize Your Essay about Tone | |
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| Illustrative Essay: Kate Chopin's Irony in "The Story of an Hour" | |
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| Commentary on the Essay | |
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| Writing Topics About Tone | |
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| Writing About Rhyme in Poetry: The Repetition of Identical Sounds to Emphasize Ideas | |
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| The Nature and Function of Rhyme | |
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| Writing About Rhyme | |
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| Organize Your Essay About Rhyme | |
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| Illustrative Essay: The Rhymes in Christina Rossetti's "Echo" | |
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| Commentary on the Essay | |
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| Writing Topics About Rhyme in Poetry | |
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| Writing About More General Literary Topics | |
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| Writing About a Literary Problem: Challenges to Overcome in Reading | |
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| Strategies for Developing an Essay About a Problem | |
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| Writing About a Problem | |
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| Organize Your Essay About a Problem | |
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| Illustrative Essay: The Problem of Robert Frost's Use of the Term | |
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| "Desert Places" in the Poem "Desert Places" | |
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| Commentary on the Essay | |
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| Writing Topics About Studying Problems in Literature | |
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| Writing Essays of Comparison -Contrast and Extended Comparison -Contrast: Learning by Seeing Literary Works Together | |
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| Guidelines for the Comparison-Contrast Essay | |
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| The Extended Comparison-Contrast Essay | |
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| Box: Citing References in a Longer Comparison-Contrast Essay | |
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| Writing a Comparison-Contrast Essay | |
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| Organize Your Comparison-Contrast Essay | |
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| Illustrative Essay (Comparing and Contrasting Two Works): The Views of War in Amy Lowell's "Patterns" and Wilfred Owen's "Anthem for | |
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| Doomed Youth" | |
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| Commentary on the Essay | |
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| Illustrative Essay (Extended Comparison-Contrast): Literary Treatments of the Tension Between Private and Public Life | |
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| Commentary on the Essay | |
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| Writing Topics About Comparison and Contrast | |
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| Writing About a Work in Its Historical, Intellectual , and Cult ural Context | |
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| History, Culture, and Multiculturalism | |
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| Literature in Its Time and Place | |
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| Writing About a Work in Its Historical and Cultural Context | |
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| Organize Your Essay About a Work and Its Context | |
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| Illustrative Essay: Langston Hughes's References to Black Servitude and Black Pride in " | |
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| Negro" | |
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| Commentary on the Essay | |
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| Writing Topics About Works in Their Historical, Intellectual, and Cultural Context | |
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| Writing a Review Essay: Developing Ideas and Evaluating Literary Works for Special or General Audiences | |
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| Writing a Review Essay | |
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| Organize Your Review Essay | |
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| First Illustrative Essay (A Review for General Readers): Nathaniel | |
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| Hawthorne's Story "Young Goodman Brown": A View of Mistaken | |
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| Zeal | |
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| Commentary on the Essay | |
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| Second Illustrative Essay (Designed for a Particular Group-Here, a | |
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| Religious Group): Religious Intolerance and Nathaniel Hawthorne's Story | |
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| "Young Goodman Brown" | |
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| Commentary on the Essay | |
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| Third Illustrative Essay (A Personal Review for a General Audience): | |
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| Security and Nathaniel Hawthorne's Story "Young Goodman Brown," | |
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| Commentary on the Essay | |
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| Topics for Studying and Discussing the Writing of Reviews | |
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| Writing Examinations on Literature | |
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| Answer the Questions That Are Asked | |
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| Systematic Preparation | |
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| Two Basic Types of Questions About Literature | |
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| Writing and Documenting the Research Essay ; Using Extra Resources for Understanding | |
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| Selecting a Topic | |
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| Setting Up a Working Bibliography | |
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| Locating Sources | |
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| Box: Evaluating Sources | |
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| Box: Important Considerations About Computer-Aided Research | |
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| Taking Notes and Paraphrasing Material | |
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| Box: Plagiarism: An Embarrassing But Vital | |
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| Subject-and a Danger to Be Overcome | |
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| Classify Your Cards and Group Them Accordingly | |
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| Documenting Your Work | |
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| Organize Your Research Essay | |
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| Illustrative Research Essay: The Structure of Katherine Mansfield's | |
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| "Miss Brill" | |
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| Commentary on the Essay | |
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| Writing Topics for Research Essays | |
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| Appendixes | |
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| Critical Approaches Important in the Study of Literature | |
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| Moral / Intellectual | |
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| Topical/Historical | |
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| New Critical/Formalist | |
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| Structuralist | |
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| Feminist Criticism, Gender Studies, and Queer Theory | |
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| Economic Determinist/Marxist | |
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| Psychological/Psychoanalytic | |
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| Archetypal/Symbolic/Mythic | |
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| Deconstructionist | |
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| Reader-Response | |
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| MLA Recommendations for Documenting Sources | |
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| (Nonelectronic) Books, Articles, Poems, Letters, Reviews, Recordings, | |
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| Programs | |
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| The Citation of Electronic Sources | |
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| Works Used in the Text for Illustrative Essays and References | |
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| Stories Kate Chopin, The Story of an Hour | |
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| A woman is shocked by news of her husband's death, but there is still a greater shock in | |
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| store for her. | |
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| Nathaniel Hawthorne, Young Goodman Brown | |
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| Living in colonial Salem, Young Goodman Brown has a bewildering encounter that affects his outlook on life and his attitudes towards people. | |
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| Shirley Jackson, The Lottery | |
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| Why does the prize-winner of a community-sponsored lottery make the claim that the drawing was not fair? | |
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| Frank O'Connor, First Confession | |
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| Jackie as a young man recalls his mixed memories of the events surrounding his first | |
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| childhood experience with confession. | |
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| Mark Twain, Luck | |
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| A follower of a famous British general tells what really happened. | |
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| Eudora Welty, A Worn Path | |
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| Phoenix Jackson, a devoted grandmother, walks a well-worn path on a mission of great love. | |
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| Poems Matthew Arnold, Dover Beach | |
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| When you lose certainty, what remains for you? | |
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| William Blake, The Tyger | |
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| What mysterious force creates evil as well as good? | |
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| Gwendolyn Brooks, We Real Cool | |
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| Just how cool are they, really? How successful are they going to be? | |
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| Robert Browning, My Last Duchess | |
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| An arrogant duke shows his dead wife's portrait to the envoy of the count. | |
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| Samuel Taylor Coleridge, Kubla Khan | |
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| What does Kubla Khan create to give himself the greatest joy? | |
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| John Donne, Holy Sonnet 10: Death Be Not Proud | |
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| How does eternal life put down death? | |
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| Robert Frost, Desert Places | |
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| What is more frightening than the emptiness of outer space? | |
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| Thomas Hardy, Channel Firing | |
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| What is loud enough to waken the dead, and then, what do the dead say about it? | |
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| Thomas Hardy, The Man He Killed | |
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| A combat soldier muses about the irony of battlefield conflict. | |
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| Langston Hughes, Negro | |
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| What are some of the outrages experienced throughout history by blacks? | |
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| John Keats, Bright Star | |
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| The speaker dedicates himself to constancy and steadfastness. | |
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| John Keats, On First Looking into Chapman's Homer | |
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| How can reading a translation be as exciting as discovering a new planet or a new ocean? | |
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| Irving Layton, Rhine Boat Trip | |
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| What terrible memory counterbalances the beauty of German castles, fields, and traditions? | |
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| Amy Lowell, Patterns | |
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| What does a woman think when she learns that her fianc� will never return from | |
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| overseas battle? | |
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| John Masefield, Cargoes | |
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| How do modern cargo ships differ from those of the past? | |
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| Wilfred Owen, Anthem for Doomed Youth | |
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| War forces poignant changes in normally peaceful ceremonies. | |
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| Christina Rossetti, Echo | |
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| A love from the distant past still lingers in memory. | |
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| William Shakespeare, Sonnet 30: When to the Sessions of Sweet | |
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| Silent Thought | |
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| The speaker remembers his past, judges his life , and finds great value in the present. | |
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| William Shakespeare, Sonnet 73: That Time of Year Thou May'st in Me Behold | |
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| Even though age is closing in, the speaker finds his reason for dedication to the past. | |
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| Walt Whitman, Reconciliation | |
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| In what way is the speaker reconciled to his former enemy? | |
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| William Wordsworth, Lines Written in Early Spring | |
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| The songs of woodland birds lead the speaker to moral thoughts. | |
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| William Butler Yeats, The Second Coming | |
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| What new and dangerous forces are being turned loose in our modern world? | |
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| NOTE-The following selections are referenced throughout Writing About Literature, | |
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| but do not physically appear in the text: | |
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| Guy de Maupassant, "The Necklace" | |
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| Edgar Allan Poe, "The Cask of Amontillado" | |
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| Katharine Mansfield, "Miss Brill" | |
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| Robert Browning, "My Last Duchess" | |
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| Susan Glaspell, Trifles | |
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| William Shakespeare, Hamlet | |
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| However, these selections are available in the eAnthology featured in | |
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| MyLiteratureLab (www.myliteraturelab.com), along with more than | |
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| additional literary works. Please refer to the inside front and back cover for a complete listing of available selections. For more information on | |
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| packaging this text with MyLiteratureLab at no additional cost, refer to page xvi. | |
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| A Glossary of Important Literary Terms | |
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| Credits | |
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| Index of Titles , Authors ,and First Lines of Poetry | |