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| Preface | |
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| Introduction to Literature | |
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| Experience, Experiment, Expand: Three Reasons to Study Literature | |
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| Experience | |
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| Experiment | |
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| Expand | |
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| Fiction | |
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| Introduction to Fiction | |
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| The Telling of the Tale | |
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| The Short Story Genre | |
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| Reading and Analyzing Short Fiction | |
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| Plot | |
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| Characterization | |
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| Point of View | |
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| Theme | |
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| Setting | |
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| Style, Tone, and Symbolism | |
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| Young Goodman Brown | |
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| The Tell-Tale Heart | |
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| A White Heron | |
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| Mother Savage | |
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| The Story of an Hour | |
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| The Lady with the Pet Dog | |
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| The Yellow Wallpaper | |
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| Roman Fever | |
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| Paul's Case | |
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| Araby | |
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| The Jilting of Granny Weatherall | |
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| Sweat | |
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| A Rose for Emily | |
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| The Secret Miracle | |
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| Hills Like White Elephants | |
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| The Chrysanthemums | |
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| The Man Who Was Almost a Man | |
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| Reunion | |
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| The Guest | |
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| A Party Down at the Square | |
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| The Lottery | |
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| Good Country People | |
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| A Very Old Man with Enormous Wings | |
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| Dead Men's Path | |
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| How I Met My Husband | |
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| A & P | |
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| Cathedral | |
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| Where Are You Going, Where Have You Been? | |
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| Happy Endings | |
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| Shiloh | |
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| Everyday Use | |
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| Died and Gone to Vegas | |
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| Woman Hollering Creek | |
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| The Red Convertible | |
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| In the American Society | |
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| To His Coy Mistress | |
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| To the Memory of Mr. Oldham | |
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| Huswifery | |
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| A Description of a City Shower | |
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| from An Essay on Criticism | |
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| Ode on Solitude | |
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| Elegy Written in a Country Churchyard | |
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| The Chimney Sweeper | |
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| The Little Black Boy | |
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| A Poison Tree | |
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| The Tyger | |
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| A Red, Red Rose | |
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| John Barleycorn | |
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| I Wandered Lonely as a Cloud | |
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| It Is a Beauteous Evening | |
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| Ode: Intimations of Immortality | |
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| Frost at Midnight | |
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| Kubla Khan | |
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| Work Without Hope | |
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| She Walks in Beauty | |
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| Stanzas | |
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| When We Two Parted | |
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| Ode to the West Wind | |
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| Ozymandias | |
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| To the Fringed Gentian | |
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| La Belle Dame sans Merci | |
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| Ode to a Nightingale | |
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| On First Looking into Chapman's Homer | |
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| When I Have Fears | |
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| Sonnets from the Portuguese, 18 | |
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| Sonnets from the Portuguese, 43 | |
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| The Arsenal at Springfield | |
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| The Cross of Snow | |
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| The Haunted Palace | |
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| The Raven | |
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| To Helen | |
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| The Eagle | |
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| The Lady of Shalott | |
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| Tears, Idle Tears | |
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| Ulysses | |
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| My Last Duchess | |
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| Porphyria's Lover | |
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| Crossing Brooklyn Ferry | |
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| A Noiseless Patient Spider | |
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| O Captain! My Captain! | |
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| Song of Myself, 6 | |
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| Song of Myself, 11 | |
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| When I Heard the Learn'd Astronomer | |
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| Dover Beach | |
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| After Great Pain, a Formal Feeling Comes | |
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| Because I Could Not Stop for Death | |
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| The Brain Is Wider than the Sky | |
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| A Narrow Fellow in the Grass | |
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| Some Keep the Sabbath Going to Church | |
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| The Soul Selects Her Own Society | |
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| Tell All the Truth, but Tell It Slant | |
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| Wild Nights-Wild Nights! | |
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| Up-Hill | |
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| Ah, Are You Digging on My Grave? | |
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| Neutral Tones | |
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| The Ruined Maid | |
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| God's Grandeur | |
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| Pied Beauty | |
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| Spring and Fall: To a Young Child | |
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| The New Colossus | |
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| Eight O'Clock | |
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| Loveliest of Trees, the Cherry Now | |
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| Stars, I Have Seen Them Fall | |
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| "Terence, This Is Stupid Stuff..." | |
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| The Lake Isle of Innisfree | |
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| Leda and the Swan | |
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| Sailing to Byzantium | |
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| The Second Coming | |
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| The Song of Wandering Aengus | |
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| Firelight | |
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| The Mill | |
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| Richard Cory | |
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| The Trees in the Garden Rained Flowers | |
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| The Wayfarer | |
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| We Wear the Mask | |
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| Acquainted with the Night | |
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| After Apple-Picking | |
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| Design | |
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| Home Burial | |
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| The Road Not Taken | |
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| Stopping by Woods on a Snowy Evening | |
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| Amaze | |
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| Languor after Pain | |
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| Trapped | |
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| Anecdote of the Jar | |
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| Disillusionment of Ten O'Clock | |
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| The Emperor of Ice-Cream | |
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| The Snow Man | |
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| Sunday Morning | |
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| The Last Words of My English Grandmother | |
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| The Red Wheelbarrow | |
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| Spring and All | |
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| This Is Just to Say | |
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| In a Station of the Metro | |
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| Portrait d'une Femme | |
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| The River-Merchant's Wife: A Letter | |
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| Let No Charitable Hope | |
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| Ophelia | |
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| Pear Tree | |
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| Sea Rose | |
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| Dreamers | |
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| The Purse-Seine | |
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| The Fish | |
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| Silence | |
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| Journey of the Magi | |
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| The Love Song of J.Alfred Prufrock | |
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| Piazza Piece | |
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| If I Should Learn, in Some Quite Casual Way | |
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| Oh, Oh, You Will Be Sorry for that Word | |
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| What Lips My Lips Have Kissed, and Where, and Why | |
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| Dulce et Decorum Est | |
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| Nobody loses all the time | |
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| Pity this busy monster, manunkind | |
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| r-p-o-p-h-e-s-s-a-g-r | |
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| Georgia Dusk | |
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| Women | |
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| Chaplinesque | |
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| Dream Boogie | |
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| Theme for English B | |
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| The Weary Blues | |
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| Incident | |
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| Yet Do I Marvel | |
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| Imperial Adam | |
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| As I Walked Out One Evening | |
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| Musee des Beaux Arts | |
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| The Unknown Citizen | |
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| Dolor | |
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| My Papa's Waltz | |
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| Root Cellar | |
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| The Fish | |
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| One Art | |
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| Sestina | |
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| Those Winter Sundays | |
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| Ballad of Birmingham | |
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| Traveling Through the Dark | |
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| Do Not Go Gentle into That Good Night | |
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| Poem in October | |
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| For My Daughter | |
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| 90 North | |
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| The Death of the Ball Turret Gunner | |
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| For Malcolm X | |
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| The ballad of chocolate Mabbie | |
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| The mother | |
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| We Real Cool | |
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| For the Union Dead | |
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| A Coney Island of the Mind, #15 | |
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| How Everything Happens | |
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| A Primer of the Daily Round | |
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| Playboy | |
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| The Writer | |
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| Year's End | |
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| Next, Please | |
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| Aubade | |
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| This Be the Verse | |
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| The Heaven of Animals | |
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| Love Song: I and Thou | |
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| The Book of Yolek | |
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| Third Avenue in Sunlight | |
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| The Ache of Marriage | |
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| American Classic | |
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| My Father in the Night Commanding No | |
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| Subterfuge | |
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| Counting the Mad | |
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| The Ungrateful Garden | |
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| Noted in the New York Times | |
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| A Supermarket in California | |
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| Casual Wear | |
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| Mementos, I | |
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| The Day Lady Died | |
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| Farm Implements and Rutabagas in a Landscape | |
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| Paradoxes and Oxymorons | |
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| For the Anniversary of My Death | |
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| The Last One | |
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| Autumn Begins in Martins Ferry, Ohio | |
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| Saint Judas | |
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| Animals Are Passing from Our Lives | |
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| You Can Have It | |
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| Cinderella | |
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| The Truth the Dead Know | |
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| From the Wave | |
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| Terminal | |
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| In a Prominent Bar in Secaucus One Day | |
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| September Twelfth, 2001 | |
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| Aunt Jennifer's Tigers | |
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| Diving into the Wreck | |
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| Rape | |
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| Pike | |
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| A Walk | |
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| Central America | |
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| The Book | |
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| Ethics | |
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| Daddy | |
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| Edge | |
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| Metaphors | |
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| Strangers Like Us: Pittsburgh, Raleigh, 1945-1985 | |
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| The Tunnel | |
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| Ape | |
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| The Black Walnut Tree | |
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| Narcissus and Echo | |
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| Homage to my hips | |
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| Wishes for sons | |
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| What's That Smell in the Kitchen? | |
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| Voyages | |
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| First Practice | |
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| Compartments | |
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| Discovering My Daughter | |
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| Siren Song | |
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| The Sacred | |
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| Punishment | |
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| Abandoned Farmhouse | |
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| Ballade of the New God | |
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| All-American Sestina | |
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| Foreplay | |
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| Litany | |
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| Picking Blackberries with a Friend Who Has Been Reading Jacques Lacan | |
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| The Serenity in Stones | |
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| The Visitor | |
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| Combing | |
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| Body and Soul | |
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| E.S.L. | |
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| The One Girl at the Boys Party | |
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| My Husband Discovers Poetry | |
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| Daughter | |
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| Mountain Bride | |
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| A Martian Sends a Postcard Home | |
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| Women Bathing at Bergen-Belsen | |
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| Rondeau Redouble | |
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| A Monorhyme for the Shower | |
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| Bestiary | |
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| The Day Kennedy Died | |
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| The Ballad of Aunt Geneva | |
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| Child Beater | |
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| Maybe Dats Your Pwoblem Too | |
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| Facing It | |
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| Sapphics Against Anger | |
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| God, a Poem | |
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| Tu Negrito | |
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| The Colonel | |
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| Planting a Sequoia | |
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| Winter Retreat: Homage to Martin Luther King, Jr. | |
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| Case Notes | |
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| She Had Some Horses | |
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| Air View of an Industrial Scene | |
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| The Latin Deli: An Ars Poetica | |
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| Adolescence-III | |
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| After Disappointment | |
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| Alan Doll Rap | |
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| The Traveling Onion | |
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| The Purpose of Altar Boys | |
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| Bilingual Sestina | |
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| Dim Lady | |
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| The River in Spate | |
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| First Poem for You | |
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| Song of the Powers | |
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| Welcome to Hiroshima | |
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| Stamp Collecting | |
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| Primping in the Rearview Mirror | |
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| Useful Advice | |
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| The Exaggeration of Despair | |
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| Domestic Work, 1937 | |
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| Occupation | |
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| Triolet on a Line Apocryphally Attributed to Martin Luther | |
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| Asked for a Happy Memory of Her father, She Recalls Wrigley Field | |
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| Drama | |
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| Introduction to Drama | |
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| The Play's the Thing | |
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| Origins of Drama | |
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| Aristotle on Tragedy | |
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| Plot | |
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| Characterization | |
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| Theme | |
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| Diction | |
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| Melody | |
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| Spectacle | |
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| Brief History and Description of Dramatic Conventions | |
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| Greek Tragedy | |
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| Medieval Drama | |
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| Elizabethan Drama | |
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| The Comic Genres | |
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| Realistic Drama, the Modern Stage, and Beyond | |
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| Oedipus the King | |
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| The Tragedy of Othello, The Moor of Venice | |
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| A Doll's House | |
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| Trifles | |
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| The Glass Menagerie | |
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| "Master Harold"...and the boys | |
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| The Piano Lesson | |
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| Time Flies | |
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| How I Learned to Drive | |
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| Anything for You | |
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| Writing About Literature | |
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| First Considerations | |
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| Topic into Thesis | |
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| Explication, Analysis, Reviewing | |
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| Critical Approaches | |
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| Style and Content | |
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| Writing About Fiction | |
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| Writing About Poetry | |
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| Form | |
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| Content | |
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| Writing About Drama | |
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| The Process of Research: The Library and the Internet | |
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| Plagiarism: Proper Quotation and Citation of Sources | |
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| Sample Works Cited Entries | |
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| The Annotated Bibliography | |
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| Final Considerations | |
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| Literature on Film, Video, and Audio | |
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| Drama | |
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| Fiction | |
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| Poetry | |
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| Thematic Approaches to Literature | |
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| Critical Approaches to Literature | |
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| Formalism | |
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| Biographical Criticism | |
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| Historical and Sociological Criticism | |
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| Feminist and Gender Criticism | |
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| Structuralism: Mythological and Psychological Approaches | |
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| Poststructuralism: Reader-Response Theory and Deconstruction | |
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| Acknowledgments | |
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| Index of Critical Terms | |
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| Index of Authors, Titles, and First Lines of Poems | |