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| A Guide to MyLiteratureLab | |
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| Preface | |
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| Resources for Students and Instructors | |
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| Acknowledgments | |
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| Letter to Students | |
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| Reading, Thinking, and Writing Critically About Literature | |
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| College Readiness: How to Respond to Stories, Poems, and Plays | |
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| Full Disclosure | |
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| Analyzing Literature | |
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| Annotating a Text as a Way of Thinking | |
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| A First Assignment: Annotating | |
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| Robert Frost, Come In | |
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| Thinking Critically About Responses to Literature: Arguing with Yourself | |
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| Fyodor Dostoevsky, The Onion | |
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| Prompts that Stimulate Responses to Stories, Poems, and Plays | |
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| Checklist: Responding to Stories | |
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| Checklist: Responding to Poems | |
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| Checklist: Responding to Plays | |
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| Converting Responses into Readable Writing | |
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| Checklist: Readable Writing | |
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| A Story for Analysis | |
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| Kate Chopin, The Storm | |
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| Last Words | |
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| Reading and Responding to Literature | |
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| What Is Literature? | |
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| Literature as Performance | |
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| Robert Frost, The Span of Life | |
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| Two Poems About Immigrants | |
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| Robert Frost, Immigrants | |
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| Pat Mora, Immigrants | |
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| Literature a Journey | |
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| Emily Dickinson, There is no frigate like a book | |
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| Robert Frost, The Pasture | |
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| A Story About a Journey | |
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| Eudora Welty, A Worn Path | |
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| Two Very Short Contemporary Short Stories | |
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| Lydia Davis, Childcare | |
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| Lydia Davis, City People | |
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| Thinking About a Classic Story | |
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| The Parable of the Prodigal Son | |
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| Stories True and False | |
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| Grace Paley, Samuel | |
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| What's Past Is Prologue | |
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| Jamaica Kincaid, Girl | |
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| The Pleasures of Reading and of Writing Arguments About Literature | |
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| The Open Secret of Good Writing | |
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| Emily Wu, The Lesson of the Master | |
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| Getting Ready to Write | |
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| A Student Essay on Emily Wu's "The Lesson of the Master" | |
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| Three Poems | |
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| Diane Ackerman, Pumping Iron | |
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| Theodore Roethke, My Papa's Waltz | |
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| William Butler Yeats, For Anne Gregory | |
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| Two Stories | |
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| Katherine Mansfield, Miss Brill | |
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| Toni Cade Bambara, The Lesson | |
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| More About Writing About Literature: From Idea to Essay | |
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| Why Write Arguments About Literature? | |
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| Getting Ideas: Prewriting | |
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| Pat Mora, Immigrants | |
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| Kate Chopin, The Story of an Hour | |
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| Writing a Draft | |
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| A Student Essay on Kate Chopin's "The Story of an Hour" | |
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| Explication | |
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| Fiction | |
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| Approaching Fiction: Responding in Writing | |
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| Ernest Hemingway, Cat in the Rain | |
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| Responses: Annotations and Journal Entries | |
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| A Student Essay on Ernest Hemingway's "Cat in the Rain" | |
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| Plot | |
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| W. Somerset Maugham, The Appointment in Samarra | |
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| Thinking About Plot | |
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| Margaret Atwood, Happy Endings | |
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| Kate Chopin, Dÿsirÿe's Baby | |
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| Alice Walker, Everyday Use | |
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| Character | |
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| Aesop, The Vixen and the Lioness | |
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| Aesop, The Ant and the Grasshopper | |
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| Ron Wallace, Worry | |
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| Kinds of Characters | |
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| William Carlos Williams, The Use of Force | |
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| James Joyce, Araby | |
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| Raymond Carver, Cathedral | |
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| Setting | |
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| Nathaniel Hawthorne, Young Goodman Brown | |
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| Charlotte Perkins Gilman, The Yellow Wallpaper | |
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| Ralph Ellison, Battle Royal | |
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| Narrative Point of View | |
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| Participant (or First-Person) Point of View | |
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| NonParticipant (or Third-Person) Points of View | |
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| The Point of a Point of View | |
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| John Updike, A & P | |
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| Anonymous, The Judgment of Solomon | |
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| Katherine Anne Porter, The Jilting of Granny | |
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| Weatherall | |
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| Annie Proulx, The Blood Bay | |
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| Allegory and Symbolism | |
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| Symbolism and Theme | |
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| John Steinbeck, The Chrysanthemums | |
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| Gabriel Garcüa Mà rquez, A Very Old Man with Enormous Wings: A Tale for Children | |
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| Theme | |
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| Anonymous, Muddy Road | |
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| Jesse Lee Kercheval, Carpathia | |
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| Cynthia Ozick, The Shawl | |
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| Gish Jen, Who's Irish? | |
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| Graphic Fiction | |
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| Letters and Pictures | |
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| Reading an Image: A Short Story Told in One Panel | |
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| Tony Carrillo, F Minus | |
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| Reading Images: A Story Told in Sequential Panels | |
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| Art Spiegelman, Nature vs.Nurture | |
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| Will Eisner, Hamlet on a Rooftop | |
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| R. Crumb and David Zane Mairowitz, A Hunger Artist | |
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| Students Writing About Stories | |
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| Prompts for Writing About Fiction | |
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| Fiction into Film | |
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| Film as a Medium | |
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| Film Techniques | |
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| Theme in Film | |
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| Comparing Filmed and Printed Stories | |
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| Getting Ready to Write | |
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| Drafting an Essay About a Film | |
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| Checklist: Getting Ideas for Writing Arguments About Film | |
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| Seven Students Write About Short Stories | |
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| One Student's Thoughts About Character in Poe's "The Cask of | |
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| Amontillado" | |
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| Gender Criticism: A Response to "The Judgment of Solomon" | |
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| A Feminist Reading of James Thurber's "The Secret Life of Walter Mitty" | |
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| Writing About Setting as Symbolic: Notes and an Essay on Kate Chopin's "The Story of an Hour" | |
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| Two Students Interpret Shirley Jackson's "The Lottery" | |
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| A Student's Research Paper with Documentation on Hawthorne's "Young Goodman Brown" | |
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| Two Fiction Writers in Depth: Flannery O'Connor and Tobias Wolff | |
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| Flannery O'ConnorTwo Stories and Comments About Writing | |
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| A Good Man Is Hard to Find | |
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| Revelation | |
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| On Fiction: Remarks from O'Connor's Essays and Letters | |
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| From"The Fiction Writer and His Country" | |
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| From"Some Aspects of the Grotesque in Southern Fiction" | |
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| From"The Nature and Aim of Fiction" | |
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| From"Writing Short Stories" | |
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| "A Reasonable Use of the Unreasonable" | |
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| On Interpreting "A Good Man is Hard to Find" | |
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| Tobias Wolff | |
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| Four Stories and Comments About Writing | |
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| Hunters in the Snow | |
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| Say Yes | |
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| Powder | |
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| Bullet in the Brain | |
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| Tobias Wolff on Novels and Short Stories | |
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| On Stories and Poems | |
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| On Stories and Novels | |
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| On Judging Characters | |
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| On Ambiguity | |
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| On Economy in Writing | |
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| On the Elements of a Good Story | |
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| Gender Conflict in "Say Yes" | |
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| A Student Essay, He's the Problem: the Husband in "Say Yes" | |
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| A Collection of Short Fiction | |
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| James Baldwin, Sonny's Blues | |
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| Jorge Luis Borges, The Gospel According to Mark | |
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| Oscar Casares, Yolanda | |
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| Diana Chang, The Oriental Contingent | |
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| Anton Chekhov, Misery | |
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| William Faulkner, Barn Burning | |
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| William Faulkner, A Rose for Emily | |
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| Amy Hempel, Today Will Be a Quiet Day | |
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| Shirley Jackson, The Lottery | |
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| Franz Kafka, A Hunger Artist | |
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| Bobbie Ann Mason, Shiloh | |
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| Guy De Maupassant, The Necklace | |
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| Lorrie Moore, How to Become a Writer | |
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| Alice Munro, Boys and Girls | |
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| Gloria Naylor, The Two | |
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| Joyce Carol Oates, Where Are You Going, Where Have You Been? | |
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| Tim O'Brien, The Things They Carried | |
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| Daniel Orozco, Orientation | |
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| Edgar Allan Poe, The Cask of Amontillado | |
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| Michele Serros, Senior Picture Day | |
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| Leslie Marmon Silko, The Man to Send Rain Clouds | |
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| Amy Tan, Two Kinds | |
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| James Thurber, The Secret Life of Walter Mitty | |
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| Helena Maria Viramontes, The Moths | |
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| Poetry | |
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| Approaching Poetry: Responding in Writing | |
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| Langston Hughes, Harlem | |
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| A Student Essay, Langston Hughes's "Harlem" | |
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| Aphra Behn, Song: Love Armed | |
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| A Student Essay, the Double Nature of Love | |
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| David Mura, An Argument: On 1942 | |
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| Elizabeth Barrett Browning, How Do I love thee? | |
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| Robert Hayden, Frederick Douglass | |
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| Narrative Poetry | |
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| The Limerick, the Popular Ballad, and Other Narrative Poems | |
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| Anonymous, There Was a Young Fellow of Riga | |
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| Anonymous British Ballad, Sir Patrick Spence | |
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| Gary Snyder, Hay for the Horses | |
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| Phillis Wheatley, On Being Brought from Africa to America | |
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| John Keats, La Belle Dame sans Merci | |
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| Siegfried Sassoon, The General | |
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| Countee Cullen, Incident | |
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| Edwin Arlington Robinson, Richard Cory | |
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| Emily Dickinson, Because I could not stop for Death | |
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| Walter de la Mare, The Listeners | |
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| John Lennon and Paul McCartney, Eleanor Rigby | |
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| E. E. Cummings, anyone lived in a pretty how town | |
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| Lyric Poetry | |
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| Anonymous, Michael Row the Boat Ashore | |
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| Anonymous, Careless Love | |
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| Anonymous, The Colorado Trail | |
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| Anonymous, Western Wind | |
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| Julia Ward Howe, Battle Hymn of the Republic | |
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| William Shakespeare | |
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| Spring | |
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| Winter | |
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| Sigh no more, ladies, sigh no more | |
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| W. H. Auden, Funeral Blues | |
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| Emily Brontý, Spellbound | |
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| Spirituals, or Sorrow Songs | |
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| Anonymous African American Spiritual, Go Down, Moses | |
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| Anonymous, Swing Low, Sweet Chariot | |
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| For Further Study | |
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| Langston Hughes, Evenin' Air Blues | |
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| Li-Young Lee, I Ask My Mother to Sing | |
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| Edna St. Vincent Millay, The Spring and the Fall | |
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| Wilfred Owen, Anthem for Doomed Youth | |
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| Walt Whitman, A Noiseless Patient Spider | |
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| Dylan Thomas, Fern Hill | |
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| John Keats, Ode on a Grecian Urn | |
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| Linda Pastan, Jump Cabling | |
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| Billy Collins, The Names | |
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| The Speaking Tone of Voice | |
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| Emily Dickinson, I'm Nobody! Who are you? | |
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| Gwendolyn Brooks, We Real Cool | |
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| Gwendolyn Brooks, The Mother | |
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| Linda Pastan, Marks | |
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| The Reader as the Speaker | |
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| Stevie Smith, Not Waving but Drowning | |
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| Wislawa Szymborska, The Terrorist, He Watches | |
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| John Updike, Icarus | |
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| Aurora Levins Morales, Child of the Americas | |
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| Joseph Bruchac III, Ellis Island | |
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| The Dramatic Monologue | |
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| Robert Browning, My Last Duchess | |
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| Diction and Tone | |
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| Robert Herrick, To the Virgins, to Make Much of Time | |
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| Wilfred Owen, Dulce et Decorum Est | |
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| Thomas Hardy, The Man He Killed | |
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| Thomas Hardy, The Ruined Maid | |
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| Countee Cullen, For a Lady I Know | |
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| Anne Bradstreet, To My Dear and Loving Husband | |
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| Lyn Lifshin, My Mother and the Bed | |
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| Mitsuye Yamada, To the Lady | |
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| The Voice of the Satirist | |
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| E. E. Cummings, next to of course god America i | |
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| Marge Piercy, Barbie Doll | |
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| Louise Erdrich, Dear John Wayne | |
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| Stephen Duck, On Mites | |
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| Figurative Language: Simile, Metaphor, Personification, Apostrophe | |
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| Robert Burns, A Red, Red Rose | |
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| Sylvia Plath, Metaphors | |
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| Simile | |
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| Metaphor | |
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| John Keats, On First Looking into Chapman's | |
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| Homer | |
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| Kay Ryan, Turtle | |
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| Marge Piercy, A Work of Artifice | |
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| Personification | |
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| Michael Drayton, Since There's No Help | |
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| Apostrophe | |
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| Edmund Waller, Song | |
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| For Further Study | |
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| William Carlos Williams, The Red Wheelbarrow | |
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| Alfred, Lord Tennyson, The Eagle | |
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| Seamus Heaney, Digging | |
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| Linda Pastan, Baseball | |
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| William Shakespeare, Sonnet 130 ("My mistress' eyes are nothing like the sun") | |
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| Imagery and Symbolism | |
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| William Blake, The Sick Rose | |
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| Walt Whitman, I Saw in Louisiana a Live-Oak Growing | |
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| Samuel Taylor Coleridge, Kubla Khan | |
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| Emma Lazarus, The New Colossus | |
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| Nila northSun, Moving Camp Too Far | |
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| Adrienne Rich, Aunt Jennifer's Tigers | |
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| Adrienne Rich, Diving into the Wreck | |
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| Christina Rossetti, Uphill | |
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| Wallace Stevens, The Emperor of Ice-Cream | |
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| Edgar Allan Poe, To Helen | |
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| A Note on Haiku | |
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| Moritake, Fallen petals rise | |
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| Sakan, If only we could | |
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| Shiki, River in summer | |
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| Taigi, Look, O look, there go | |
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| Irony | |
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| Dorothy Parker, General Review of the Sex | |
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| Situation | |
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| Percy Bysshe Shelley, Ozymandias | |
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| Andrew Marvell, To His Coy Mistress | |
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| John Donne, Holy Sonnet 14 ("Batter my heart, threepersoned God") | |
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| Langston Hughes, Dream Boogie | |
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| Martün Espada, Tony Went to the Bodega but He Didn't Buy Anything | |
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| Edna St. Vincent Millay, Love Is Not All: It Is Not Meat nor Drink | |
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| Sherman Alexie, Evolution | |
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| Henry Reed, Naming of Parts | |
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| Rhythm and Versification | |
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| Ezra Pound, An Immorality | |
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| A. E. Housman, Eight O'Clock | |
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| William Carlos Williams, The Dance | |
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| Versification: A Glossary for Reference | |
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| Meter | |
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| Patterns of Sound | |
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| Galway Kinnell, Blackberry Eating | |
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| For Further Study | |
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| William Carlos Williams, The Artist | |
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| Lawrence Ferlinghetti, Constantly Risking Absurdity | |
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| A Note About Poetic Forms | |
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| Stanzaic Patterns | |
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| Three Complex Forms: the Sonnet, the Villanelle, and the Sestina | |
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| The Sonnet | |
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| William Shakespeare, Sonnet 73 ("That time of year thou mayst in me behold") | |
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| William Shakespeare, Sonnet 146 ("Poor soul, the center of my sinful earth") | |
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| John Milton, When I Consider How My Light Is Spent | |
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| X. J. Kennedy, Nothing in Heaven Functions as It Ought | |
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| Billy Collins, Sonnet | |
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| The Villanelle | |
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| Dylan Thomas, Do Not Go Gentle into That Good Night | |
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| Elizabeth Bishop, One Art | |
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| The Sestina | |
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| Elizabeth Bishop, Sestina | |
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| Shaped Poetry or Pattern Poetry | |
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| George Herbert, Easter-Wings | |
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| Blank Verse and Free Verse | |
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| Walt Whitman, When I Heard the Learn'd Astronomer | |
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| The Prose Poem | |
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| Carolyn Forchÿ, The Colonel | |
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| Students Writing About Poems | |
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| Prompts for Writing About Poems | |
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| First Response 690 Speaker and Tone 690 Audience | |
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| Structure and Form 691 Center of Interest and Theme | |
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| Diction 691 Sound Effects 692 A Note on Explication | |
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| Seven Students Writing About Poems | |
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| Louise Glück, Gretel in Darkness | |
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| A Student Essay on Louise Glück's "Gretel in Darkness" | |
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| A Student Essay on Adrienne Rich's "Aunt Jennifer's Tigers" | |
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| A Student Essay on a Theme in Several Poems by Emily Dickinson | |
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| Robert Herrick, Upon Julia's Clothes | |
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| A Student Essay on the Structure of Robert Herrick's "Upon Julia's Clothes" | |
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| A Student Essay on Metrics in Housman's "Eight O'Clock" | |
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| Two Student Essays, for Evaluation, on Robert Frost's "Stopping by Woods on a Snowy Evening" | |
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| Poets at Work | |
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| Walt Whitman, Enfans d'Adam, number 9 | |
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| Cathy Song, Out of Our Hands | |
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| William Butler Yeats, "Leda and the Swan" (Three Versions) | |
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| Annunciation (1923) | |
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| Leda and the Swan (1924) | |
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| Leda and the Swan (1933) | |
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| Variations on Themes: Poems and Paintings | |
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| Writing About Poems and Paintings | |
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| Anne Sexton, The Starry Night | |
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| A Student Essay, Two Ways of Looking at a Starry Night | |
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| W. H. Auden, Musÿe des Beaux Arts | |
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| William Carlos Williams, The Great Figure | |
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| Three Poets in Depth: Emily Dickinson | |
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| Robert Frost, and Langston Hughes | |
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| On Reading Authors Represented in Depth | |
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| Emily Dickinson | |
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| These are the days when Birds come back | |
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| Papa above! | |
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| Wild Nights���Wild Nights! | |
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| There's a certain Slant of light | |
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| I got so I could hear his name | |
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| The Soul selects her own Society | |
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| This was a Poet���It is That | |
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| I heard a Fly Buzz���when I died | |
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| The World is not Conclusion | |
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| I like to see it lap the Miles | |
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| A narrow Fellow in the Grass | |
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| Further in Summer than the Birds | |
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| Tell all the Truth but tell it slant | |
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| A Route of Evanescence | |
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| Those���dying, then | |
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| Apparently with no surprise | |
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| I felt a Funeral, in my Brain | |
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| I felt a Cleaving in my Mind | |
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| The Dust behind I strove to join | |
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| Letters About Poetry | |
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| To Susan Gilbert (Dickinson) | |
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| To Thomas Wentworth Higginson | |
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| To Thomas Wentworth Higginson | |
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| Robert Frost | |
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| The Pasture | |
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| Mending Wall | |
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| The Wood-Pile | |
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| The Road Not Taken | |
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| The Telephone | |
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| The Oven Bird | |
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| The Aim Was Song | |
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| The Need of Being Versed in Country Things | |
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| Stopping by Woods on a Snowy Evening | |
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| Acquainted with the Night | |
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| Desert Places | |
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| Design | |
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| Come In | |
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| The Silken Tent | |
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| The Most of It | |
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| Robert Frost on Poetry | |
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| The Figure a Poem Makes | |
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| From "The Constant Symbol" | |
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| Langston Hughes | |
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| The Negro Speaks of Rivers | |
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| Mother to Son | |
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| The Weary Blues | |
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| The South | |
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| Ruby Brown | |
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| Poet to Patron | |
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| Ballad of the Landlord | |
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| Too Blue | |
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| Harlem [1] | |
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| Theme for English B | |
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| Poet to Bigot | |
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| Langston Hughes on Poetry | |
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| The Negro Artist and the Racial Mountain | |
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| On the Cultural Achievements of African-Americans | |
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| A Collection of Poems | |
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| Anonymous British Ballad, The Three Ravens | |
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| Anonymous British Ballad, The Twa Corbies | |
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| Anonymous African American Ballad, John Henry | |
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| Sherman Alexie, On the Amtrak from Boston to New York City | |
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| Matthew Arnold, Dover Beach | |
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| W. H. Auden, The Unknown Citizen | |
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| Jimmy Santiago Baca, So Mexicans Are Taking | |
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| Jobs from Americans | |
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| Amiri Baraka, A Poem for Black Hearts | |
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| Elizabeth Bishop, The Fish | |
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| William Blake 784Infant Joy | |
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| Infant Sorrow | |
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| The Lamb | |
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| The Tyger | |
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| London | |
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| Robert Bly, Driving to Town Late to Mail a Letter | |
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| Gwendolyn Brooks, Martin Luther King Jr | |
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| Gwendolyn Brooks, The Bean Eaters | |
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| Robert Browning, Porphyria's Lover | |
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| George Gordon, Lord Byron, She Walks in Beauty | |
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| Lucille Clifton, in the inner city | |
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| Judith Ortiz Cofer, My Father in the Navy | |
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| John Donne | |
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| A Valediction:Forbidding Mourning | |
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| The Flea | |
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| Death, Be Not Proud | |
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| Rita Dove, Daystar | |
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| Bob Dylan, The Times They Are A-Changin' | |
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| T. S. Eliot, The Love Song of J. Alfred Prufrock | |
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| Martün Espada, Bully | |
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| Allen Ginsberg, A Supermarket in California | |
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| Nikki Giovanni, Master Charge Blues | |
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| Louise Glück, The School Children | |
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| H. D., Helen | |
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| Thomas Hardy, Ah, Are You Digging on My Grave? | |
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| Joy Harjo, Vision | |
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| Robert Hayden, Those Winter Sundays | |
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| Anthony Hecht, The Dover Bitch | |
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| Robert Herrick, Delight in Disorder | |
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| Gerard Manley Hopkins, God's Grandeur | |
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| Gerard Manley Hopkins, Pied Beauty | |
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| A. E. Housman 808 | |
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| To an Athlete Dying Young | |
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| When I Was One-and-Twenty | |
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| Loveliest of trees, the cherry now | |
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| James Weldon Johnson, To America | |
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| John Keats, To Autumn | |
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| X. J. Kennedy, For Allen Ginsberg | |
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| Yusef Komunyakaa, Facing It | |
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| Archibald MacLeish, Ars Poetica | |
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| Claude McKay, America | |
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| Pat Mora, Illegal Alien | |
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| Pat Mora, Legal Alien | |
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| Sharon Olds, Rite of Passage | |
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| Linda Pastan, Love Poem | |
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| Sylvia Plath, Daddy | |
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| Ezra Pound, In a Station of the Metro | |
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| Dudley Randall, The Melting Pot | |
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| Adrienne Rich, Living in Sin | |
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| Anne Sexton, Her Kind | |
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| William Shakespeare, Sonnet 29 ("When, in disgrace with Fortune and men's eyes") | |
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| William Shakespeare, Sonnet 116 ("Let me not to the marriage of true minds") | |
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| Alfred, Lord Tennyson, Ulysses | |
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| Kitty Tsui, A Chinese Banquet | |
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| John Updike, Ex-Basketball Player | |
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| Derek Walcott, A Far Cry from Africa | |
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| Walt Whitman, A Sight in Camp in the Daybreak Gray and Dim | |
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| William Carlos Williams, Spring and All | |
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| William Wordsworth | |
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| The World Is Too Much with Us | |
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| I Wandered Lonely as a Cloud | |
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| The Solitary Reaper | |
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| James Wright, Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota | |
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| Mitsuye Yamada, The Question of Loyalty | |
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| William Butler Yeats, Sailing to Byzantium | |
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| Drama | |
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| How to Read a Play | |
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| Thinking About the Language of Drama | |
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| Plot and Character | |
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| Susan Glaspell, Trifles | |
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| Tennessee Williams, The Glass Menagerie | |
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| A Context for The Glass Menagerie | |
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| Production Notes by Tennessee Williams | |
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| Tragedy | |
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| A Note on Greek Tragedy | |
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| Two Plays by Sophocles | |
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| Sophocles, Oedipus the King | |
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| Sophocles, Antigone | |
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| Hamlet, A Play by Shakespeare | |
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| A Note on the Elizabethan Theater | |
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| A Note on the Texts of Hamlet | |
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| Portfolio: Hamlet on the Stage | |
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| William Shakespeare, Hamlet, Prince of Denmark | |
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| Comedy | |
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| William Shakespeare, A Midsummer Night's Dream | |
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| Students Writing About Plays | |
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| Prompts for Writing About Plays | |
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| Plot and Conflict 1172 Character 1173 Tragedy | |
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| Comedy 1174 Nonverbal Language 1174 the Play in | |
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| Performance | |
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| Writing About a Filmed Version of a Play | |
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| Checklist: Writing About a Filmed Play | |
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| Five Students Write About Plays | |
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| A Student Essay on Plot, the Solid Structure of The Glass Menagerie | |
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| A Student Essay on Setting, What the Kitchen in Trifles Tells Us | |
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| A Student Essay on Character and Theme, Fairy Mischief and | |
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| Morality in A Midsummer Night's Dream | |
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| A Student Review of a Film Version of a Play: Branagh's Film of Hamlet | |
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| A Student Essay on Using Sources, the Women in Death of a | |
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| Salesman | |
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| A Casebook on Death of a Salesman | |
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| Arthur Miller, Death of a Salesman | |
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| Contexts for Death of a Salesman | |
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| Arthur Miller, Tragedy and the Common Man | |
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| Brooks Atkinson, [Review of Premier Performance of ] | |
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| Death of a Salesman | |
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| Mary McCarthy, American Realistic Drama | |
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| Arthur Miller, Remembering Death of a Salesman | |
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| Lorraine Hansberry, Reflections on Willy Loman | |
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| John Lahr, Hard Sell: A Black Death of a Salesman 1277 | |
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| Seven Additional Plays | |
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| Henrik Ibsen, A Doll's House | |
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| Contexts for A Doll's House | |
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| Notes for the Tragedy of Modern Times, Adaptation of A Doll's House for a German Production, Speech at the | |
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| Banquet of the Norwegian League for Women's Rights by Henrik Ibsen, 1333���34 | |
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| Luis Valdez, Los Vendidos | |
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| A Context for Los Vendidos | |
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| The Actos by Luis Valdez | |
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| Jane Martin, Rodeo | |
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| August Wilson, Fences | |
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| A Context for Fences | |
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| Talking About Fences by August Wilson | |
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| Samuel Beckett, Krapp's Last Tape: A Play in One Act | |
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| David Ives, Sure Thing | |
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| Terrence McNally, Andre's Mother | |
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| Critical Approaches | |
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| Critical Approaches: the Nature of Criticism | |
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| Formalist (or New) Criticism | |
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| Deconstruction | |
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| Reader-Response Criticism | |
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| Archetypal (or Myth) Criticism | |
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| Historical Scholarship | |
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| Marxist Criticism | |
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| The New Historicism | |
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| Biographical Criticism | |
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| Psychological (or Psychoanalytic) Criticism | |
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| Gender (Feminist, and Lesbian and Gay) Criticism | |
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| Suggestions for Further Reading | |
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| How Much Do You Know About Citing Sources? A Quiz with Answers | |
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| Remarks About Manuscript Form | |
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| Basic Manuscript Form | |
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| Quotations and Quotation Marks | |
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| Documentation: Internal Parenthetical Citations and a List of Works Cited (MLA Format) | |
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| Citing Sources on the World Wide Web | |
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| Glossary of Literary Terms | |
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| Literary Credits | |
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| Photo Credits | |
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| Index of Terms | |
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| Index of Authors, Titles, and First Lines of Poems | |