About the Authors - CHOOSE YOUR PATH: Print • CD/DVD • Online

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About the Authors
X. J. KEN NEDY, after graduation from Seton Hall and
Columbia, became a journalist second class in the Navy
(“Actually, I was pretty eighth class”). His poems, some
published in the New Yorker, were first collected in Nude
Descending a Staircase (1961). Since then he has published
seven more collections, including a volume of new and
selected poems in 2007, several widely adopted literature
and writing textbooks, and seventeen books for children,
including two novels. He has taught at Michigan, North
Carolina (Greensboro), California (Irvine), Wellesley, Tufts,
and Leeds. Cited in Bartlett’s Familiar Quotations and reprinted in some 200 anthologies, his verse has brought him a Guggenheim fellowship, a Lamont Award, a Los
Angeles Times Book Prize, an award from the American Academy and Institute of
Arts and Letters, an Aiken-Taylor prize, and the Award for Poetry for Children from
the National Council of Teachers of English. He now lives in Lexington, Massachusetts, where he and his wife Dorothy have collaborated on five books and five children.
D A N A GIOIA is a poet, critic, and teacher. Born in Los Angeles of Italian and Mexican ancestry, he attended Stanford
and Harvard before taking a detour into business. (“Not
many poets have a Stanford M.B.A., thank goodness!”)
After years of writing and reading late in the evenings after
work, he quit a vice presidency to write and teach. He has
published three collections of poetry, Daily Horoscope
(1986), The Gods of Winter (1991), and Interrogations at
Noon (2001), which won the American Book Award; an
opera libretto, Nosferatu (2001); and three critical volumes,
including Can Poetry Matter? (1992), an influential study of
poetry’s place in contemporary America. Gioia has taught at Johns Hopkins, Sarah
Lawrence, Wesleyan (Connecticut), Mercer, and Colorado College. He is also the
co-founder of the summer poetry conference at West Chester University in Pennsylvania. In 2003 he became Chairman of the National Endowment for the Arts. He
currently lives in Washington, D.C., with his wife Mary, their two sons, and an
uncontrollable cat.
(The surname Gioia is pronounced JOY-A. As some of you may have already
guessed, gioia is the Italian word for joy.)
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Page ii
M YLITERATURELAB
MLL
MEDIA RESOURCES TO ACCOMPANY KENNEDY/GIOIA: LITERATURE Compact Edition
FICTION
James Baldwin
John Cheever
Kate Chopin
Sonny’s Blues: Longman Lecture ■ Biography, Critical Archive, Bibliography
Biography, Critical Archive, Bibliography
The Storm: Longman Lecture, Interactive Reading, Student Paper, Critical Essay
William Faulkner
A Rose for Emily: Critical Essay ■ Barn Burning: Video(2), Audio(2), Critical Essay(2)
Biography/Photos, Critical Archive, Bibliography
Gabriel García Márquez
The Yellow Wallpaper: Critical Essay ■ Biography, Critical Archive, Bibliography
Young Goodman Brown: Longman Lecture ■ Biography, Critical Archive, Bibliography
A Clean, Well-Lighted Place: Critical Essay ■ Biography, Critical Archive, Bibliography
Sweat: Longman Lecture, Interactive Reading
The Lottery: Interactive Reading, Critical Essay
Araby: Longman Lecture, Interactive Reading, Critical Essay
Charlotte Perkins Gilman
Nathaniel Hawthorne
Ernest Hemingway
Zora Neale Hurston
Shirley Jackson
James Joyce
Franz Kafka
Katherine Mansfield
Tim O’Brien
Flannery O’Connor
Edgar Allan Poe
Katherine Anne Porter
Amy Tan
John Updike
Alice Walker
Miss Brill: Interactive Reading, Critical Essay
The Things They Carried: Longman Lecture
A Good Man Is Hard to Find: Longman Lecture ■ Biography, Critical Archive, Bibliography
The Tell-Tale Heart: Video, Critical Essay
The Jilting of Granny Weatherall: Video, Audio, Critical Essay ■ Biography/Photos
A&P: Interactive Reading, Student Paper, Critical Essay
Everyday Use: Longman Lecture, Student Paper
POETRY
Margaret Atwood
W. H. Auden
Elizabeth Bishop
William Blake
Gwendolyn Brooks
Elizabeth Barrett Browning
Robert Browning
Lewis Carroll
Samuel Taylor Coleridge
Billy Collins
E. E. Cummings
You Fit into Me: Critical Essay
One Art: Longman Lecture ■ The Fish: Critical Essay ■ Biography, Critical Archive, Bibliography
The Chimney Sweeper: Audio, Critical Essay ■ The Tyger: Audio ■ Biography/Photos
We Real Cool: Interactive Reading, Student Paper, Critical Essay ■ The Mother: Longman Lecture
How Do I Love Thee? Let Me Count the Ways: Audio
My Last Duchess: Longman Lecture, Audio, Critical Essay, Student Paper ■ Biography/Photos
Jabberwocky: Longman Lecture, Interactive Reading, Critical Essay
Kubla Khan: Audio, Student Paper, Critical Essay
in Just-: Audio ■ anyone lived in a pretty how town: Audio, Critical Essay
Buffalo Bill ’s: Audio, Critical Essay
Emily Dickinson
Because I could not stop for Death: Longman Lecture ■ I heard a Fly buzz—when I died: Audio
Wild Nights—Wild Nights!: Audio ■ Biography, Critical Archive, Bibliography
John Donne
Death be not proud: Audio ■ Biography, Critical Archive, Bibliography
The Love Song of J. Alfred Prufrock: Student Paper ■ Biography, Critical Archive, Bibliography
Acquainted with the Night: Longman Lecture ■ Birches: Audio ■ Mending Wall: Longman Lecture
“Out, Out—”: Interactive Reading, Critical Essay ■ The Road Not Taken: Critical Essay
T. S. Eliot
Robert Frost
Thomas Hardy
California Hills in August: Video ■ Money: Video ■ Summer Storm: Video ■ Unsaid: Video
Neutral Tones: Critical Essay ■ The Ruined Maid: Critical Essay
Robert Hayden
Dana Gioia
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Page iii
Seamus Heaney
Digging: Longman Lecture
George Herbert
Easter Wings: Critical Essay
Pied Beauty: Audio, Critical Essay ■ Biography/Photos
Biography, Critical Archives, Bibliography
The Weary Blues: Longman Lecture ■ Biography, Critical Archive, Bibliography
Bright star: Longman Lecture ■ Ode on a Grecian Urn: Audio, Student Paper
Gerard Manley Hopkins
A. E. Housman
Langston Hughes
John Keats
X. J. Kennedy
For Allen Ginsberg: Video ■ In a Prominent Bar in Secaucus One Day: Video
Nude Descending a Staircase: Video ■ Snowflake Souffle: Video
Edna St. Vincent Millay
What lips my lips have kissed, and where, and why: Video, Student Paper ■ Biography/Photos
Dulce et Decorum Est: Longman Lecture, Interactive Reading, Critical Essay
Résumé: Video ■ Biography/Photos
Wilfred Owen
Dorothy Parker
Sylvia Plath
Edgar Allan Poe
Adrienne Rich
Edwin Arlington Robinson
Theodore Roethke
William Shakespeare
Lady Lazarus: Longman Lecture ■ Metaphors: Critical Essay, Interactive Reading
Luke Havergal: Critical Essay ■ Richard Cory: Longman Lecture, Critical Essay
Root Cellar: Interactive Reading, Critical Essay
Let me not to the marriage of true minds: Critical Essay
Shall I compare thee to a summer’s day?: Audio, Student Paper, Critical Essay (2)
Percy Bysshe Shelley
Ozymandias: Audio
Wallace Stevens
Anecdote of the Jar: Interactive Reading ■ Biography, Critical Archive, Bibliography
The Splendor falls on castle walls: Audio
Alfred, Lord Tennyson
Dylan Thomas
John Updike
Walt Whitman
Richard Wilbur
William Carlos Williams
William Wordsworth
Do not go gentle into that good night: Interactive Reading, Critical Essay
Recital: Student Paper ■ Biography/Photos, Critical Archive, Bibliography
Cavalry Crossing a Ford: Interactive Reading, Critical Essay
Cold War Poetry: Critical Essay ■ Love Calls Us to the Things of this World: Interactive Reading
A Slumber Did My Spirit Seal: Critical Essay ■ Composed upon Westminster Bridge: Audio
William Butler Yeats
The Lake Isle of Innisfree: Longman Lecture, Critical Essay
Who Goes with Fergus?: Interactive Reading ■ Biography, Critical Archive, Bibliography
Susan Glaspell
A Doll’s House: Longman Lecture ■ Biography, Critical Archive, Bibliography
DRA M A
Henrik Ibsen
Terrence McNally
Arthur Miller
William Shakespeare
Sophocles
Tennessee Williams
Andre’s Mother: Video
Death of a Salesman: Critical Essay ■ Biography, Critical Archive, Bibliography
Othello: Video, Audio, Interactive Reading, Student Paper, Critical Essay
Oedipus: Longman Lecture ■ Biography, Critical Archive, Bibliography
9660007_Kennedy_Terry_TP:9660007_Kennedy_Terry_TP
3/2/09
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Page 1
F I F T H C O M PA C T E D I T I O N
L I T E R AT U R E
An Introduction to Fiction,
Poetry, Drama, and Writing
INTERACTIVE EDITION
X. J. Kennedy
Dana Gioia
TEXAS AP* EDITION
Excerpts taken from:
Public Speaking Handbook, Third Edition
by Steven A. Beebe and Susan J. Beebe
Literature, Tenth Edition
by X.J. Kennedy and Dana Gioia
and
Exploring Literature, Third Edition
by Frank Madden
Custom Publishing
New York Boston San Francisco
London Toronto Sydney Tokyo Singapore Madrid
Mexico City Munich Paris Cape Town Hong Kong Montreal
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Page vi
Cover Image: Ben Watson III, Red Door
Taken from:
Literature, Fifth Edition
Copyright © 2009 by Pearson Education, Inc.
Published by Longman
New York, New York 10036
Literature, Tenth Edition
Public Speaking Handbook, Third Edition
by Steven A. Beebe and Susan J. Beebe
Published by Allyn and Bacon
Boston, MA 02116
Exploring Literature, Third Edition
by Frank Madden
Copyright © 2010 by Pearson Custom Publishing
All rights reserved.
This copyright covers material written expressly for this volume by the editor/s as well as the compilation
itself. It does not cover the individual selections herein that first appeared elsewhere. Permission to
reprint these has been obtained by Pearson Custom Publishing for this edition only. Further reproduction
by any means, electronic or mechanical, including photocopying and recording, or by any information
storage or retrieval system, must be arranged with the individual copyright holders noted.
All trademarks, service marks, registered trademarks, and registered service marks are the property of
their respective owners and are used herein for identification purposes only.
Printed in the United States of America
10 9 8 7 6 5 4 3 2 1
2009660007
CF/SB
www.pearsonhighered.com
ISBN 10: 0-13-136577-0
ISBN 13: 978-0-13-136577-3
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Page vii
Contents
Teacher to Teacher xli
Preface xliii
Using Literature in Your Pre-AP* or AP* Course
li
FICTION
1 Reading a Story
3
Fable, Parable, and Tale
W. Somerset Maugham
■
4
THE APPOINT M ENT IN SA M ARRA
4
A servant tries to gallop away from Death in this brief sardonic fable retold in
memorable form by a popular storyteller.
Aesop
■
THE NORTH WIN D A N D THE SUN
5
The North Wind and the Sun argue who is stronger and decide to try their
powers on an unsuspecting traveler.
Bidpai
■
THE C A M EL A N D HIS FRIEN DS
6
With friends like these, you can guess what the camel doesn’t need.
Chuang Tzu
■
IN DEPEN DENCE
8
The Prince of Ch’u asks the philosopher Chuang Tzu to become his advisor
and gets a surprising reply in this classic Chinese fable.
Jakob and Wilhelm Grimm
■
GODF ATHER DEATH
9
Neither God nor the Devil came to the christening. In this stark folktale,
a young man receives magical powers with a string attached.
Plot
11
The Short Story
AP*
John Updike
■
13
A &P
14
In walk three girls in nothing but bathing suits, and Sammy finds himself no
longer an aproned checkout clerk but an armored knight.
WRITING EFFECTIVELY
WRITERS O N WRITIN G
AP*
John Updike
■
WHY WRITE?
20
vii
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viii Contents
WRITIN G A B O UT PLOT
20
Paying Attention to Plot
C H E C KLIST
Analyzing Plot
21
WRITIN G ASSIG N M E NT O N PLOT
M ORE TO PICS F OR WRITIN G
2 Point of View
AP*
William Faulkner
■
22
22
23
A ROSE FOR E M ILY
28
Proud, imperious Emily Grierson defied the town from the fortress of her
mansion. Who could have guessed the secret that lay within?
Anne Tyler
■
TEEN AGE W ASTELA N D
35
With her troubled son, his teachers, and a peculiar tutor all giving her their
own versions of what’s going on with him, what’s a mother to do?
AP*
James Baldwin
■
SON NY’S BLUES
43
Two brothers in Harlem see life differently. The older brother is the sensible
family man, but Sonny wants to be a jazz musician.
AP*
Alice Walker
■
EVERYD AY USE
64
When successful Dee visits from the city, she has changed her name to reflect
her African roots. Her mother and sister notice other things have changed, too.
WRITING EFFECTIVELY
AP*
James Baldwin
■
RA CE A N D THE A FRIC A N A M ERIC A N WRITER
71
WRITIN G A B O UT P OINT O F VIEW
Ho w Point of Vie w Shapes a Story 72
C H E C KLIST
Understanding Point of Vie w
72
WRITIN G ASSIG N M E NT O N P OINT O F VIEW
3 Character
AP*
72
73
74
Katherine Anne Porter
■
THE JILTING OF GRA N NY WEATHERALL
77
For sixty years Ellen Weatherall has fought back the memory of that terrible
day, but now once more the priest waits in the house.
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Contents ix
Katherine Mansfield
■
MISS BRILL
84
Sundays had long brought joy to solitary Miss Brill, until one fateful day when
she happened to share a bench with two lovers in the park.
Tobias Wolff
THE RICH BROTHER
■
87
Blood may be thicker than water, but sometimes the tension between brothers
is thicker than blood.
WRITING EFFECTIVELY
WRITIN G A B O UT C H ARA CTER
Ho w Character Cre ates Action 99
C H E C KLIST
Writing About Character
100
WRITIN G ASSIG N M E NT O N C H ARA CTER
4 Setting
AP*
100
100
102
Kate Chopin
■
THE STOR M
105
Even with her husband away, Calixta feels happily, securely married. Why
then should she not shelter an old admirer from the rain?
Jack London ■ TO BUILD A FIRE 109
(Taken from: Literature, Tenth Edition, by X.J. Kennedy and Dana Gioia)
Seventy-five degrees below zero. Alone except for one mistrustful wolf dog, a
man finds himself battling a relentless force.
Amy Tan
■
A PAIR OF TICKETS
119
A young woman flies with her father to China to meet two half sisters she
never knew existed.
WRITING EFFECTIVELY
Amy Tan
■
SETTING THE VOICE
133
WRITIN G A B O UT SETTIN G
134
The Importance of Setting
C H E C KLIST
Analyzing Setting
134
WRITIN G ASSIG N M E NT O N SETTIN G
135
134
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x Contents
5 Tone and Style
AP*
Ernest Hemingway
■
136
A CLEA N, WELL-LIGHTED PLA CE
139
All by himself each night, the old man lingers in the bright café. What does he
need more than brandy?
AP*
William Faulkner
■
BARN BURNING
143
This time when Ab Snopes wields his blazing torch, his son Sarty faces a
dilemma: whether to obey or defy the vengeful old man.
Irony
155
O. Henry
■
THE GIFT OF THE M AGI
157
A young husband and wife find ingenious ways to buy each other Christmas
presents, in the classic story that defines the word “irony.”
AP*
Ha Jin
■
SABOTEUR
161
When the police unfairly arrest Mr. Chiu, he hopes for justice. After
witnessing their brutality, he quietly plans revenge.
WRITING EFFECTIVELY
AP*
Ernest Hemingway
■
THE DIRECT STYLE
169
WRITIN G A B O UT TO N E A N D STYLE
Be Style-Conscious 169
C H E C KLIST
Thinking About Tone and Style
170
WRITIN G ASSIG N M E NT O N TO N E A N D STYLE
6 Theme
AP*
170
171
172
Chinua Achebe
DEA D M EN ’S PATH
■
174
The new headmaster of the village school was determined to fight superstition,
but the villagers did not agree.
Luke 15:11–32
■
THE PARABLE OF THE PRODIGAL SON
177
A father has two sons. One demands his inheritance now and leaves to spend
it with ruinous results.
Kurt Vonnegut, Jr.
■
HARRISON BERGERON
178
Are you handsome? Off with your eyebrows! Are you brainy? Let a
transmitter sound thought-shattering beeps inside your ear.
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Contents xi
WRITING EFFECTIVELY
Kurt Vonnegut, Jr.
■
THE THE M ES OF SCIENCE FICTION
183
WRITIN G A B O UT THE M E
184
Stating the The m e
C H E C KLIST
Determining a Story’s The m e
185
WRITIN G ASSIG N M E NT O N THE M E
7 Symbol
185
185
186
John Steinbeck
■
THE CHRYSA NTHE M U M S
188
Fenced-in Elisa feels emotionally starved—then her life promises to blossom
with the arrival of the scissors-grinding man.
Shirley Jackson
■
THE LOTTERY
196
Splintered and faded, the sinister black box had worked its annual terror for
longer than anyone in town could remember.
Elizabeth Tallent
■
NO ONE’S A M YSTERY
202
A two-page story speaks volumes about an open-hearted girl and her married
lover.
WRITING EFFECTIVELY
Shirley Jackson
■
BIOGRAPHY OF A STORY
204
WRITIN G A B O UT SY M B OLS
207
Recognizing Symbols
C H E C KLIST
Thinking About Symbols
207
WRITIN G A SSIG N M E N T O N SY M B OLS
Student Paper
207
A N A N ALYSIS OF THE SY M BOLIS M IN STEINBECK’S
“THE CHRYSA NTHE M U MS” 208
■
210
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xii Contents
8 Critical Casebook: Flannery O’Connor
AP*
Flannery O’Connor
A GOOD M A N IS HARD TO FIN D
■
211
212
Wanted: The Misfit, a cold-blooded killer. An ordinary family vacation leads
to horror—and one moment of redeeming grace.
AP*
Flannery O’Connor
REVELATION
■
222
Mrs. Turpin thinks herself Jesus’ favorite child, until she meets a troubled
college girl. Soon violence flares in a doctor’s waiting room.
Flannery O’Connor
ON
Writing
FRO M “ ON HER O W N W ORK” 237
ON HER C ATHOLIC F AITH 239
FRO M “THE GROTESQUE IN SOUTHERN FICTION ”
Critics
ON
240
Flannery O’Connor
Robert H. Brinkmeyer, Jr.
■ FLA N NERY O’CON NOR A N D HER
REA DERS 241
J. O. Tate ■ A GOOD SOURCE IS NOT SO HARD TO FIN D: THE REAL
LIFE MISFIT 244
Mary Jane Schenck ■ DECONSTRUCTING “ A GOOD M A N IS HARD
TO FIN D ” 246
Kathleen Feeley ■ THE PROPHET IN O’CON NOR’S
“REVELATION ” 247
WRITING EFFECTIVELY
WRITIN G A B O UT A N A UTH OR
Ho w One Story Illuminates Another
250
C H E C KLIST
Re ading an Author in Depth
250
WRITIN G ASSIG N M E NT O N A N A UTH OR
251
251
9 Critical Casebook: Two Stories in Depth
AP*
Edgar Allan Poe
252
252
THE TELL-TALE HEART
253
The smoldering eye at last extinguished, a murderer finds that, despite all his
attempts at a cover-up, his victim will be heard.
Edgar Allan Poe
ON
Writing
THE TALE A N D ITS EFFECT 257
ON I M AGIN ATION 258
THE PHILOSOPHY OF CO MPOSITION
258
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Contents xiii
Critics
ON
“The Tell-Tale He art”
Daniel Hoffman
■ THE F ATHER-FIGURE IN
“THE TELL-TALE HEART” 259
Scott Peeples ■ “THE TELL-TALE HEART” AS A LOVE STORY
John Chua ■ THE FIGURE OF THE DOUBLE IN POE 262
Charlotte Perkins Gilman
264
THE YELLOW W ALLPAPER
264
261
A doctor prescribes a “rest cure” for his wife after the birth of their child. The
new mother tries to settle in to life in the isolated and mysterious country house
they have rented for the summer. The cure proves worse than the disease in
this Gothic classic.
Charlotte Perkins Gilm an
ON
Writing
WHY I WROTE “THE YELLO W W ALLPAPER” 275
WHATEVER IS 276
THE NERVOUS BREAKDO W N OF W O M EN 277
Critics
ON
“The Yello w Wallpaper”
Juliann Fleenor
■
W ALLPAPER”
GEN DER A N D PATHOLOGY IN “THE YELLO W
278
Sandra M. Gilbert and Susan Gubar
■ I MPRISON M ENT A N D
ESC APE: THE PSYCHOLOGY OF CONFINE M ENT 279
Elizabeth Ammons ■ BIOGRAPHIC AL ECHOES IN “THE YELLO W
W ALLPAPER” 281
10 Stories for Further Reading
Jorge Luis Borges
■
283
THE GOSPEL A CCORDING TO M ARK
283
A young man from Buenos Aires is trapped by a flood on an isolated ranch.
To pass the time he reads the Gospel to a family with unforeseen results.
AP*
John Cheever
■
THE FIVE-FORTY-EIGHT
287
After their brief affair, Blake fired his secretary. He never expected she would
seek revenge.
AP*
Kate Chopin
■
THE STORY OF A N HOUR
297
“There was something coming to her and she was waiting for it, fearfully.
What was it? She did not know; it was too subtle and elusive to name.”
AP*
Sandra Cisneros
■
THE HOUSE ON M A NGO STREET
299
Does where we live tell what we are? A little girl dreams of a new house, but
things don’t always turn out the way we want them to.
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xiv Contents
AP*
Gabriel García Márquez
THE W ORLD
■
THE HA N DSO M EST DRO W NED M A N IN
300
Even in death, a mysterious stranger has a profound effect on all of the people
in the village.
Dagoberto Gilb
■
LOOK ON THE BRIGHT SIDE
304
“You have to look on the bright side” is the motto of this story’s narrator, but
that gets harder and harder to do as things just keep on getting worse.
AP*
Nathaniel Hawthorne
■
YOUNG GOOD M A N BRO W N
312
Urged on through deepening woods, a young Puritan sees—or dreams he
sees—good villagers hasten toward a diabolic rite.
AP*
Zora Neale Hurston
■
SWEAT
322
Delia’s hard work paid for her small house. Now her drunken husband Sykes
has promised it to another woman.
AP*
James Joyce
ARABY
■
330
If only he can find her a token, she might love him in return. As night falls,
a Dublin boy hurries to make his dream come true.
Franz Kafka
■
BEFORE THE LA W
335
A man from the country comes in search of the Law. He never guesses what
will prevent him from finding it in this modern parable.
Jamaica Kincaid
■
GIRL
336
“Try to walk like a lady, and not like the slut you are so bent on becoming.”
An old-fashioned mother tells her daughter how to live.
AP*
D. H. Lawrence
■
THE ROCKING-HORSE WIN NER
338
Wild-eyed “as if something were going to explode in him,” the boy predicts
each winning horse, and gamblers rush to bet a thousand pounds.
Tim O’Brien
■
THE THINGS THEY C ARRIED
348
What each soldier carried into the combat zone was largely determined by
necessity, but each man’s necessities differed.
Octavio Paz
■
M Y LIFE WITH THE W AVE
360
Meet the oddest couple ever, in this story by a Nobel Prize-winning poet.
Leslie Marmon Silko
■
THE M A N TO SEN D RAIN CLOUDS
364
When old Teofilo dies, his friends give him a tribal burial to ensure that the
rains will come for the pueblo. But can they also convince Father Paul to take
part in the pagan ceremony?
AP*
Eudora Welty
■
A W ORN PATH
367
When the man said to old Phoenix, “you must be a hundred years old, and
scared of nothing,” he might have been exaggerating, but not by much.
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Contents xv
POETRY
11 Reading a Poem
AP*
Lyric Poetry
AP*
AP*
AP*
THE LAKE ISLE OF IN NISFREE
D. H. Lawrence ■ PIA NO 384
Adrienne Rich ■ AUNT JEN NIFER’S TIGERS
Anonymous
Robert Frost
381
383
Narrative Poetry
AP*
■
379
■
■
385
SIR PATRICK SPENCE
“ OUT, OUT—” 387
385
Dra m atic Poetry
388
Robert Browning
M Y LAST DUCHESS
■
384
388
WRITING EFFECTIVELY
AP*
Adrienne Rich
■
REC ALLING “ AUNT JEN NIFER’S TIGERS”
WRITIN G A P ARA PHRASE
Can a Poe m Be Paraphrased? 391
William Stafford ■ ASK M E 392
William Stafford ■ A PARAPHRASE OF “ ASK M E”
392
C H E C KLIST
Paraphrasing a Poe m
393
WRITIN G ASSIG N M E NT O N P ARA PHRASIN G
12 Listening to a Voice
Tone
AP*
AP*
AP*
393
393
394
394
Theodore Roethke ■ M Y PAPA ’S W ALTZ 394
Countee Cullen ■ FOR A LA DY I KNO W 395
Anne Bradstreet ■ THE AUTHOR TO HER BOOK 396
Walt Whitman ■ TO A LOCO M OTIVE IN WINTER 397
Emily Dickinson ■ I LIKE TO SEE IT LAP THE MILES 398
Benjamin Alire Sáenz ■ TO THE DESERT 399
Weldon Kees ■ FOR M Y D AUGHTER 399
391
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xvi Contents
The Person in the Poe m
400
Natasha Trethewey
WHITE LIES 400
Edwin Arlington Robinson ■ LUKE HAVERGAL 402
Ted Hughes ■ HA WK ROOSTING 403
Suji Kwock Kim ■ M ONOLOGUE FOR A N ONION 404
William Wordsworth ■ I W A N DERED LONELY AS A CLOUD
Dorothy Wordsworth ■ JOURN AL ENTRY 406
Anne Sexton ■ HER KIN D 406
William Carlos Williams ■ THE RED WHEELBARRO W 407
■
AP*
AP*
AP*
Irony
AP*
AP*
405
407
Robert Creeley ■ OH NO 408
W. H. Auden ■ THE UNKNO W N CITIZEN 409
Sharon Olds ■ RITES OF PASSAGE 410
Sarah N. Cleghorn ■ THE GOLF LINKS 411
Edna St. Vincent Millay ■ SECON D FIG 411
Thomas Hardy ■ THE W ORKBOX 412
For Revie w and Further Study
AP*
William Blake ■ THE CHI M NEY SWEEPER 413
William Stafford ■ AT THE UN-N ATION AL M ONU M ENT ALONG THE
C A N A DIA N BORDER
414
Richard Lovelace ■ TO LUC ASTA 414
Wilfred Owen ■ DULCE ET DECORU M EST
415
WRITING EFFECTIVELY
Wilfred Owen
W AR POETRY
■
416
WRITIN G A B O UT V OIC E
416
Listening to Tone
C H E C KLIST
Analyzing Tone
417
WRITIN G ASSIG N M E NT O N TO N E
Student Paper
418
W ORD CHOICE, TONE, A N D POINT OF VIEW IN
ROETHKE’S “ M Y PAPA ’S W ALTZ” 419
■
13 Words
422
423
Literal M e aning: What a Poe m Says First
AP*
AP*
423
William Carlos Williams
THIS IS JUST TO SAY 424
Marianne Moore ■ SILENCE 425
Robert Graves ■ DO W N, W A NTON, DO W N! 425
John Donne ■ BATTER M Y HEART, THREE-PERSONED GOD,
■
FOR YOU
426
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Contents xvii
The Value of a Dictionary
427
Henry Wadsworth Longfellow ■ A FTER M ATH 428
J. V. Cunningham ■ FRIEN D, ON THIS SC A FFOLD THO M AS M ORE
LIES DEA D
430
Kelly Cherry ■ A DVICE TO A FRIEN D WHO PAINTS
Carl Sandburg ■ GRASS 430
Word Choice and Word Order
AP*
430
431
Robert Herrick ■ UPON JULIA ’S CLOTHES 433
Kay Ryan ■ BLA N DEUR 434
Thomas Hardy ■ THE RUINED M AID 435
Richard Eberhart ■ THE FURY OF AERIAL BO M BARD M ENT
Wendy Cope ■ LONELY HEARTS 436
436
E. E. Cummings ■ A NYONE LIVED IN A PRETTY HO W TO W N
Anonymous ■ C ARN ATION MILK 438
Kenneth Rexroth ■ VITA MINS A N D ROUGHAGE 439
Gina Valdés ■ ENGLISH CON SALSA 439
Lewis Carroll ■ JABBERW OCKY 440
437
WRITING EFFECTIVELY
Lewis Carroll
■
HUMPTY DUMPTY EXPLIC ATES “JABBERWOCKY”
WRITIN G A B O UT DICTIO N
Every Word Counts 442
C H E C KLIST
Thinking About Word Choice
443
WRITIN G ASSIG N M E NT O N W ORD C H OIC E
14 Saying and Suggesting
AP*
AP*
AP*
AP*
AP*
443
444
445
John Masefield ■ C ARGOES 446
William Blake ■ LON DON 447
Wallace Stevens ■ DISILLUSION M ENT OF TEN O’CLOCK 449
Gwendolyn Brooks ■ SOUTHEAST CORNER 449
Timothy Steele ■ EPITAPH 450
E. E. Cummings ■ NEXT TO OF COURSE GOD A M ERIC A I 450
Robert Frost ■ FIRE A N D ICE 451
Clare Rossini ■ FIN AL LOVE NOTE 451
Alfred, Lord Tennyson ■ TEARS, IDLE TEARS 452
Richard Wilbur ■ LOVE C ALLS US TO THE THINGS OF
THIS W ORLD
452
441
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xviii Contents
WRITING EFFECTIVELY
AP*
Richard Wilbur
■
CONCERNING “LOVE C ALLS US TO THE THINGS OF
THIS W ORLD ”
454
WRITIN G A B O UT DE N OT A TIO N A N D C O N N OT A TIO N
454
The Ways a Poe m Suggests
C H E C KLIST
Analyzing What a Poe m Says and Suggests
455
WRITIN G ASSIG N M E NT O N DE N OT A TIO N A N D
C O N N O T A T I O N 456
15 Imagery
AP*
AP*
AP*
AP*
456
457
Ezra Pound ■ IN A STATION OF THE M ETRO 457
Taniguchi Buson ■ THE PIERCING CHILL I FEEL 457
T. S. Eliot ■ THE WINTER EVENING SETTLES DO W N 459
Theodore Roethke ■ ROOT CELLAR 459
Elizabeth Bishop ■ THE FISH 460
Anne Stevenson ■ THE VICTORY 462
Emily Dickinson ■ A ROUTE OF EVA NESCENCE 462
Jean Toomer ■ REAPERS 463
Gerard Manley Hopkins ■ PIED BEAUTY 463
About Haiku
464
Arakida Moritake ■ THE F ALLING FLO WER 464
Matsuo Basho ■ HEAT-LIGHTNING STREAK 465
Matsuo Basho ■ IN THE OLD STONE POOL 465
Taniguchi Buson ■ ON THE ONE-TON TE MPLE BELL
Taniguchi Buson ■ I GO 465
Kobayashi Issa ■ ONLY ONE GUY 465
Kobayashi Issa ■ CRICKET 465
Haiku from Japanese Internm ent Ca mps
465
465
Suiko Matsushita ■ RAIN SHO WER FRO M M OUNTAIN 466
Neiji Ozawa ■ W AR FORCED US FRO M C ALIFORNIA 466
Hakuro Wada ■ EVEN THE CRO AKING OF FROGS 466
Conte mporary Haiku
466
Etheridge Knight, Lee Gurga, Penny Harter, Jennifer Brutschy,
John Ridland, Connie Bensley, Adelle Foley, Garry Gay 466
AP*
John Keats
■
THOU ART
BRIGHT STAR! W OULD I WERE STEA DF AST AS
467
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Contents xix
AP*
AP*
AP*
Walt Whitman ■ THE RUN NER 468
T. E. Hulme ■ I M AGE 468
William Carlos Williams ■ EL HO M BRE 468
Chana Bloch ■ TIRED SEX 468
Robert Bly ■ DRIVING TO TO W N LATE TO M AIL A LETTER
Rita Dove ■ SILOS 469
Louise Glück ■ M OCK ORA NGE 469
Billy Collins ■ E M BRA CE 470
Stevie Smith ■ NOT W AVING BUT DRO W NING 470
469
WRITING EFFECTIVELY
Ezra Pound
■ THE I M AGE
471
WRITIN G A B O UT IM A GERY
Analyzing Im ages 472
C H E C KLIST
Thinking About Im agery
473
WRITIN G ASSIG N M E NT O N IM A GERY
Student Paper
473
ELIZABETH BISHOP’S USE OF I M AGERY
IN “THE FISH” 473
■
16 Figures of Speech
479
Why Spe ak Figuratively?
AP*
AP*
478
479
Alfred, Lord Tennyson ■ THE EAGLE 480
William Shakespeare ■ SHALL I CO MPARE THEE TO A
SU M M ER’S D AY? 480
■ SHALL I CO MPARE THEE TO A SU M M ER’S D AY?
Howard Moss
M etaphor and Simile
AP*
AP*
AP*
AP*
481
Emily Dickinson ■ M Y LIFE HA D STOOD — A LO A DED GUN 483
Alfred, Lord Tennyson ■ FLO WER IN THE CRA N NIED W ALL 483
William Blake ■ TO SEE A W ORLD IN A GRAIN OF SA N D 484
Sylvia Plath ■ M ETAPHORS 484
N. Scott Momaday ■ SI MILE 484
Other Figures of Spe ech
485
James Stephens ■ THE WIN D 486
Margaret Atwood ■ YOU FIT INTO M E 488
John Ashbery ■ THE C ATHEDRAL IS 488
Dana Gioia ■ M ONEY 488
Charles Simic ■ M Y SHOES 489
481
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xx Contents
AP*
AP*
Robert Frost ■ THE SILKEN TENT 490
April Lindner ■ LO W TIDE 491
Jane Kenyon ■ THE SUITOR 491
Robert Frost ■ THE SECRET SITS 492
A. R. Ammons ■ CO W ARD 492
Heather McHugh ■ LA NGUAGE LESSON, 1976 492
Robert Burns ■ OH, M Y LOVE IS LIKE A RED, RED ROSE
493
WRITING EFFECTIVELY
AP*
Robert Frost
■
THE I MPORTA NCE OF POETIC M ETAPHOR
493
WRITIN G A B O UT M ET A PH ORS
Ho w M etaphors Enlarge a Poe m’s M e aning
494
C H E C KLIST
Analyzing M etaphor
494
WRITIN G ASSIG N M E NT O N FIGURES O F SPEE C H
17 Song
AP*
495
496
Singing and Saying
AP*
494
496
Ben Jonson ■ TO CELIA 497
Anonymous ■ THE CRUEL M OTHER 498
William Shakespeare ■ O MISTRESS MINE 499
Edwin Arlington Robinson ■ RICHARD CORY 500
Paul Simon ■ RICHARD CORY 501
Ballads
502
Anonymous ■ BON NY BARBARA ALLA N 502
Dudley Randall ■ BALLA D OF BIR MINGHA M 504
Blues
AP*
505
Bessie Smith with Clarence Williams ■ JAILHOUSE BLUES
W. H. Auden ■ FUNERAL BLUES 506
Rap
507
Run D.M.C.
■
FROM PETER PIPER
508
John Lennon and Paul McCartney
Aimee Mann ■ DEATHLY 510
■
ELEA NOR RIGBY
509
506
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Contents xxi
WRITING EFFECTIVELY
Paul McCartney
■
CREATING “ELEA NOR RIGBY”
512
WRITIN G A B O UT SO N G LYRICS
512
Poetry’s Close Kinship with Song
C H E C KLIST
Looking at Lyrics as Poetry
513
WRITIN G ASSIG N M E NT O N SO N G LYRICS
18 Sound
AP*
AP*
AP*
Alexander Pope
■
NOT CHA NCE
514
TRUE EASE IN WRITING CO M ES FRO M ART,
515
William Butler Yeats ■ WHO GOES WITH FERGUS? 517
John Updike ■ RECITAL 517
William Wordsworth ■ A SLU M BER DID M Y SPIRIT SEAL
Aphra Behn ■ WHEN M AIDENS ARE YOUNG 518
Alliteration and Assonance
AP*
AP*
518
518
A. E. Housman ■ EIGHT O’CLOCK 519
James Joyce ■ ALL D AY I HEAR 520
Alfred, Lord Tennyson ■ THE SPLENDOR FALLS ON CASTLE WALLS 520
Rim e
AP*
513
514
Sound as M e aning
AP*
513
521
William Cole ■ ON M Y BO AT ON LAKE C AYUGA 521
Hilaire Belloc ■ THE HIPPOPOTA M US 523
Ogden Nash ■ THE PA NTHER 523
Gerard Manley Hopkins ■ GOD’S GRA N DEUR 524
Fred Chappell ■ N ARCISSUS A N D ECHO 525
Re ading Poe ms Aloud
526
Michael Stillman
IN M E M ORIA M JOHN COLTRA NE 526
William Shakespeare ■ FULL F ATHO M FIVE THY F ATHER LIES
Chryss Yost ■ LAI WITH SOUN DS OF SKIN 527
T. S. Eliot ■ VIRGINIA 528
■
AP*
AP*
WRITING EFFECTIVELY
AP*
T. S. Eliot
■
THE M USIC OF POETRY
528
527
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xxii Contents
WRITIN G A B O UT SO U N D
529
Listening to the Music
C H E C KLIST
Writing About a Poe m’s Sound
530
WRITIN G ASSIG N M E NT O N SO U N D
19 Rhythm
530
531
Stresses and Pauses
AP*
AP*
AP*
530
531
Gwendolyn Brooks
WE REAL COOL 535
Alfred, Lord Tennyson ■ BREAK, BREAK, BREAK 535
Ben Jonson ■ SLO W, SLO W, FRESH FOUNT, KEEP TI M E WITH M Y
■
SALT TEARS
Dorothy Parker
M eter
536
■
RÉSU M É
537
537
Max Beerbohm
AP*
AP*
■ ON THE I MPRINT OF THE FIRST ENGLISH EDITION
OF THE WORKS OF MAX BEERBOHM 537
Edna St. Vincent Millay ■ COUNTING-OUT RHY M E 542
A. E. Housman ■ WHEN I W AS ONE-A N D-TWENTY 542
William Carlos Williams ■ S M ELL! 543
Walt Whitman ■ BEAT! BEAT! DRU MS! 543
David Mason ■ SONG OF THE PO WERS 544
WRITING EFFECTIVELY
AP*
Gwendolyn Brooks
■
HEARING “ WE REAL COOL”
545
WRITIN G A B O UT RHYTH M
Fre e z e-Fra ming the Sound 545
C H E C KLIST
Scanning a Poe m
546
WRITIN G ASSIG N M E NT O N RHYTH M
20 Closed Form
548
Form al Patterns
549
AP*
AP*
546
547
John Keats ■ THIS LIVING HA N D, NO W W AR M A N D C APABLE 549
Robert Graves ■ COUNTING THE BEATS 551
John Donne ■ SONG (“GO A N D C ATCH A F ALLING STAR”) 552
Phillis Levin ■ BRIEF BIO 553
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Contents xxiii
The Sonnet
AP*
554
William Shakespeare
TRUE MIN DS
Michael Drayton
A N D PART
■
■
SINCE THERE’S NO HELP, CO M E LET US KISS
555
Edna St. Vincent Millay
AP*
WHAT LIPS M Y LIPS HAVE KISSED, A N D
WHERE, A N D WHY 556
Robert Frost ■ A CQUAINTED WITH THE NIGHT 556
Kim Addonizio ■ FIRST POE M FOR YOU 557
Mark Jarman ■ UNHOLY SON NET: HA N DS FOLDED 557
Timothy Steele ■ SU M M ER 558
A. E. Stallings ■ SINE QUA NON 558
R. S. Gwynn ■ SHAKESPEAREA N SON NET 559
The Epigra m
AP*
LET M E NOT TO THE M ARRIAGE OF
554
■
560
Alexander Pope, Sir John Harrington, AP* Langston Hughes,
J. V. Cunningham, Stevie Smith, Anonymous ■ A SELECTION
OF EPIGRA MS
Other Forms
560
561
Robert Pinsky
ABC 561
Dylan Thomas ■ DO NOT GO GENTLE INTO THAT GOOD NIGHT
Robert Bridges ■ TRIOLET 562
Elizabeth Bishop ■ SESTIN A 563
■
AP*
WRITING EFFECTIVELY
A. E. Stallings
■
ON FOR M A N D ARTIFICE
564
WRITIN G A B O UT F ORM
Turning Points 565
C H E C KLIST
Thinking About a Sonnet
566
WRITIN G ASSIG N M E NT O N A SO N N ET
21 Open Form
AP*
AP*
566
566
567
Denise Levertov ■ A NCIENT STAIRW AY 567
E. E. Cummings ■ BUFF ALO BILL ’S 570
W. S. Merwin ■ FOR THE A N NIVERSARY OF M Y DEATH
Stephen Crane ■ THE HEART 571
Walt Whitman ■ C AVALRY CROSSING A FORD 572
Ezra Pound ■ SALUTATION 572
Wallace Stevens ■ THIRTEEN W AYS OF LOOKING AT A
BLA CKBIRD
572
571
562
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xxiv Contents
Prose Poetry
Charles Simic
575
■
Visual Poetry
AP*
THE M AGIC STUDY OF HAPPINESS
575
575
George Herbert
EASTER WINGS 576
John Hollander ■ SW A N A N D SHA DO W
■
577
Se eing the Logic of Open Form Verse
578
E. E. Cummings ■ IN JUST- 578
Carole Satyamurti ■ I SHALL PAINT M Y N AILS RED
Alice Fulton ■ F AILURE 579
579
WRITING EFFECTIVELY
AP*
Walt Whitman
■
THE POETRY OF THE FUTURE
580
WRITIN G A B O UT FREE VERSE
581
Lining Up for Fre e Verse
C H E C KLIST
Analyzing Line Bre aks in Fre e Verse
582
WRITIN G ASSIG N M E NT O N O PE N F ORM
22 Symbol
AP*
AP*
AP*
AP*
582
582
583
T. S. Eliot ■ THE BOSTON EVENING TRANSCRIPT 584
Emily Dickinson ■ THE LIGHTNING IS A YELLO W FORK 585
Thomas Hardy ■ NEUTRAL TONES 586
Matthew 13:24–30 ■ THE PARABLE OF THE GOOD SEED 587
George Herbert ■ THE W ORLD 588
Edwin Markham ■ OUTWITTED 589
Robert Frost ■ THE RO A D NOT TAKEN 589
Christina Rossetti ■ UPHILL 590
AP*
AP*
William Carlos Williams ■ THE TER M 591
Ted Kooser ■ C ARRIE 591
Jane Hirshfield ■ TREE 591
Lorine Niedecker ■ POPCORN-C A N COVER
Wallace Stevens ■ A NECDOTE OF THE JAR
592
592
WRITING EFFECTIVELY
AP*
■
POETIC SY M BOLS
593
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Contents xxv
WRITIN G A B O UT SY M B OLS
593
Re ading a Symbol
C H E C KLIST
Analyzing a Symbol
594
WRITIN G A SSIG N M E N T O N SY M B OLISM
23 Myth and Narrative
AP*
AP*
AP*
594
594
595
Robert Frost ■ NOTHING GOLD C A N STAY 596
William Wordsworth ■ THE W ORLD IS TOO M UCH WITH US
H. D. ■ HELEN 597
Archetype
598
AP*
Louise Bogan ■ M EDUSA 599
John Keats ■ LA BELLE D A M E SA NS M ERCI
AP*
AP*
Andrea Hollander Budy ■ SNO W WHITE
Anne Sexton ■ CIN DERELLA 604
Personal Myth
600
601
■
THE SECON D CO MING
Myth and Popular Culture
602
603
604
WRITING EFFECTIVELY
AP*
Anne Sexton
■
TRA NSFOR MING F AIRY TALES
607
WRITIN G A B O UT M YTH
De mystifying Myth 608
C H E C KLIST
Thinking About Myth
609
WRITIN G ASSIG N M E NT O N M YTH
609
609
24 Poetry and Personal Identity
AP*
Sylvia Plath ■ LA DY LAZARUS 611
Rhina Espaillat ■ BILINGUAL / BILINGÜE
Culture, Race, and Ethnicity
610
614
615
Claude McKay ■ A M ERIC A 615
Samuel Menashe ■ THE SHRINE WHOSE SHAPE I A M
Francisco X. Alarcón ■ THE X IN M Y N A M E 617
616
597
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xxvi Contents
Amy Uyematsu ■ DELIBERATE 617
Yusef Komunyakaa ■ F A CING IT 618
Shirley Geok-lin Lim ■ LEARNING TO LOVE A M ERIC A
Gender
AP*
619
620
Anne Stevenson ■ SOUS-ENTEN DU 620
Donald Justice ■ M EN AT FORTY 621
Adrienne Rich ■ W O M EN 622
WRITING EFFECTIVELY
Rhina Espaillat
■
BEING A BILINGUAL WRITER
622
WRITIN G A B O UT THE P O ETRY O F PERSO N AL IDE NTITY
623
Poetic Voice and Personal Identity
C H E C KLIST
Writing About Voice and Personal Identity
624
WRITIN G ASSIG N M E NT O N PERSO N AL IDE NTITY
624
625
25 Poetry in Spanish: Literature of Latin America
Sor Juana
626
■ ASEGURA LA CONFIA NZA DE QUE OCULTURÁ DE TODO
UN SECRETO 628
Translated by Diane Thiel ■ SHE PRO MISES TO HOLD A SECRET IN
CONFIDENCE 628
Sor Juana ■ PRESENTE EN QUE EL C ARIÑO HA CE REGALO LA
LLA NEZA 628
Translated by Diane Thiel ■ A SI M PLE GIFT M A DE RICH BY
A FFECTION 628
Pablo Neruda ■ M UCHOS SO M OS 629
Translated by Alastair Reid ■ WE ARE M A NY 629
Pablo Neruda ■ CIEN SONETOS DE A M OR (V) 631
Translated by Stephen Tapscott ■ ONE HUN DRED
LOVE SON NETS (V) 631
Jorge Luis Borges ■ A M OROSA A NTICIPA CIÓN 632
Translated by Robert Fitzgerald ■ A NTICIPATION OF LOVE 633
Jorge Luis Borges ■ LOS ENIG M AS 633
Translated by John Updike ■ THE ENIG M AS 634
Octavio Paz ■ CON LOS OJOS CERRA DOS 635
Translated by Eliot Weinberger ■ WITH EYES CLOSED 635
Octavio Paz ■ CERTEZA 635
Translated by Charles Tomlinson ■ CERTAINTY 635
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Page xxvii
Contents xxvii
Surre alism in Latin A m erican Poetry
636
Frida Kahlo ■ THE TW O FRID AS 637
César Vallejo ■ LA CÓLERA QUE QUIEBRA AL HO MBRE
EN NIÑOS
637
Translated by Thomas Merton
A NGER
638
IN SEARCH OF THE PRESENT
639
■
Octavio Paz
■
WRITERS O N TRA NSLA TIN G
Alastair Reid
■
TRA NSLATING NERUD A
639
WRITIN G ASSIG N M E NT O N SP A NISH P O ETRY
640
26 Recognizing Excellence
AP*
AP*
AP*
AP*
641
Anonymous ■ O M OON, WHEN I GAZE ON THY BEAUTIFUL F A CE
Grace Treasone ■ LIFE 643
Emily Dickinson ■ A DYING TIGER — M O A NED FOR DRINK 643
Rod McKuen ■ THOUGHTS ON C APITAL PUNISH M ENT 646
William Stafford ■ TRAVELING THROUGH THE D ARK 646
Recognizing Excellence
AP*
640
647
William Butler Yeats ■ SAILING TO BYZA NTIU M 648
Arthur Guiterman ■ ON THE VA NITY OF EARTHLY GREATNESS
Percy Bysshe Shelley ■ OZY M A N DIAS 650
Robert Hayden ■ THE WHIPPING 651
Elizabeth Bishop ■ ONE ART 652
Paul Laurence Dunbar ■ WE WEAR THE M ASK 654
Emma Lazarus ■ THE NEW COLOSSUS 654
Edgar Allan Poe ■ A N N ABEL LEE 655
WRITING EFFECTIVELY
AP*
Edgar Allan Poe
■
A LONG POE M DOES NOT EXIST
656
WRITIN G A N EV ALU A TIO N
You Be the Judge 657
C H E C KLIST
Evaluating a Poe m
643
657
WRITIN G ASSIG N M E NT O N EV ALU A TIN G A P O E M
658
658
650
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xxviii Contents
27 What Is Poetry?
659
Dante, Samuel Johnson, AP* Samuel Taylor Coleridge, AP* William
Wordsworth, Thomas Carlyle, Thomas Hardy, AP* Robert Frost,
AP* Wallace Stevens, Mina Loy, AP* T. S. Eliot, AP* W. H.
Auden, AP* Elizabeth Bishop, Jorge Luis Borges, Octavio Paz,
William Stafford ■ SO M E DEFINITIONS OF POETRY 659
28 Two Critical Casebooks:
Emily Dickinson and Langston Hughes
AP*
Emily Dickinson
661
661
SUCCESS IS COUNTED SWEETEST 662
I TASTE A LIQUOR NEVER BREWED 662
WILD NIGHTS—WILD NIGHTS! 663
I FELT A FUNERAL, IN M Y BRAIN 663
I’ M NOBODY! WHO ARE YOU? 664
I D WELL IN POSSIBILITY 664
THE SOUL SELECTS HER O W N SOCIETY 664
SO M E KEEP THE SABBATH GOING TO CHURCH 665
A FTER GREAT PAIN, A FOR M AL FEELING CO M ES 665
I HEARD A FLY BUZZ—WHEN I DIED 665
BEC AUSE I COULD NOT STOP FOR DEATH 666
TELL ALL THE TRUTH BUT TELL IT SLA NT 666
Emily Dickinson
ON
Emily Dickinson
RECOGNIZING POETRY 667
SELF-DESCRIPTION 668
Critics
ON
Emily Dickinson
Thomas Wentworth Higginson ■ M EETING E MILY DICKINSON 669
Thomas H. Johnson ■ THE DISCOVERY OF E MILY DICKINSON ’S
M A NUSCRIPTS 670
■ THE THREE PRIVATIONS OF E MILY DICKINSON
Richard Wilbur
671
Cynthia Griffin Wolff
DICKINSON A N D DEATH (A REA DING OF
“BEC AUSE I COULD NOT STOP FOR DEATH”) 672
AP*
Langston Hughes
■
674
THE NEGRO SPEAKS OF RIVERS 674
M OTHER TO SON 675
DREA M VARIATIONS 675
I, TOO 676
THE WEARY BLUES 676
SONG FOR A D ARK GIRL 677
BALLA D OF THE LA N DLORD 677
KU KLUX 678
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Contents xxix
EN D 679
THE M E FOR ENGLISH B 679
HARLE M [DREA M DEFERRED]
AS BEFITS A M A N 680
Langston Hughes
ON
680
Langston Hughes
THE NEGRO ARTIST A N D THE RA CIAL M OUNTAIN
THE HARLE M REN AISSA NCE 682
Critics
AP*
681
Langston Hughes
ON
Arnold Rampersad ■ HUGHES AS A N EXPERI M ENTALIST 684
Rita Dove and Marilyn Nelson ■ THE VOICES IN LA NGSTON
HUGHES
685
Darryl Pinckney ■ BLA CK IDENTITY IN LA NGSTON HUGHES
Peter Townsend ■ LA NGSTON HUGHES A N D JAZZ 688
687
T O P I C S F O R W R I T I N G A B O U T E M I L Y D I C K I N S O N 690
T O P I C S F O R W R I T I N G A B O U T L A N G S T O N H U G H E S 690
29 Critical Casebook: T. S. Eliot’s “The Love Song
of J. Alfred Prufrock”
AP*
T. S. Eliot
691
691
THE LOVE SONG OF J. ALFRED PRUFROCK
T. S. Eliot
ON
Writing
POETRY A N D E M OTION 697
THE OBJECTIVE CORRELATIVE
Critics
ON
693
698
“Prufrock”
Denis Donoghue ■ ONE OF THE IRREFUTABLE POETS 699
Christopher Ricks ■ WHAT’S IN A N A M E? 700
Philip R. Headings ■ THE PRONOUNS IN THE POE M : “ ONE,” “YOU,”
A N D “I”
701
Maud Ellmann ■ WILL THERE BE TI M E? 702
John Berryman ■ PRUFROCK’S DILE M M A 703
TO PICS F OR WRITIN G
706
30 Poems for Further Reading
707
Anonymous ■ LORD RA N D ALL 708
Anonymous ■ LAST W ORDS OF THE PROPHET
Matthew Arnold ■ DOVER BEA CH 709
John Ashbery ■ AT NORTH F AR M 710
Margaret Atwood ■ SIREN SONG 711
709
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xxx Contents
AP*
AP*
AP*
AP*
AP*
W. H. Auden ■ AS I W ALKED OUT ONE EVENING 712
W. H. Auden ■ M USÉE DES BEAUX ARTS 714
Elizabeth Bishop ■ FILLING STATION 715
William Blake ■ THE TYGER 717
Gwendolyn Brooks ■ THE PREA CHER: RU MIN ATES BEHIN D
THE SER M ON
718
Elizabeth Barrett Browning
AP*
AP*
AP*
AP*
THE W AYS
AP*
AP*
AP*
AP*
AP*
AP*
AP*
AP*
AP*
AP*
AP*
AP*
724
Marisa de los Santos ■ PERFECT DRESS 725
John Donne ■ DEATH BE NOT PROUD 726
John Donne ■ THE FLEA 727
Louise Erdrich ■ IN DIA N BO ARDING SCHOOL: THE RUN A W AYS
Robert Frost ■ BIRCHES 729
Robert Frost ■ M EN DING W ALL 730
Robert Frost ■ STOPPING BY W OODS ON A SNO WY
EVENING
AP*
AP*
HO W DO I LOVE THEE? LET M E COUNT
Robert Browning ■ SOLILOQUY OF THE SPA NISH CLOISTER 719
Lucille Clifton ■ HO M AGE TO M Y HIPS 721
Samuel Taylor Coleridge ■ KUBLA KHA N 722
Billy Collins ■ C ARE A N D FEEDING 723
E. E. Cummings ■ SO M EWHERE I HAVE NEVER TRAVELLED,GLA DLY
BEYON D
AP*
AP*
■
718
728
731
Allen Ginsberg ■ A SUPER M ARKET IN C ALIFORNIA 732
Thomas Hardy ■ THE CONVERGENCE OF THE TW AIN 733
Robert Hayden ■ THOSE WINTER SUN D AYS 735
Seamus Heaney ■ DIGGING 736
George Herbert ■ LOVE 737
Robert Herrick ■ TO THE VIRGINS, TO M AKE M UCH OF TI M E 738
Gerard Manley Hopkins ■ SPRING A N D F ALL 738
Gerard Manley Hopkins ■ THE WIN DHOVER 739
A. E. Housman ■ LOVELIEST OF TREES, THE CHERRY NO W 739
A. E. Housman ■ TO A N ATHLETE DYING YOUNG 740
Randall Jarrell ■ THE DEATH OF THE BALL TURRET GUN NER 741
Robinson Jeffers ■ TO THE STONE-CUTTERS 741
Ben Jonson ■ ON M Y FIRST SON 742
Donald Justice ■ ON THE DEATH OF FRIEN DS IN CHILDHOOD 742
John Keats ■ ODE ON A GRECIA N URN 743
Ted Kooser ■ ABA N DONED F AR M HOUSE 744
Philip Larkin ■ HO M E IS SO SA D 745
Denise Levertov ■ THE A CHE OF M ARRIAGE 746
Robert Lowell ■ SKUNK HOUR 747
Andrew Marvell ■ TO HIS COY MISTRESS 748
Edna St. Vincent Millay ■ RECUERDO 749
John Milton ■ WHEN I CONSIDER HO W M Y LIGHT IS SPENT 750
Marianne Moore ■ POETRY 751
Marilyn Nelson ■ A STRA NGE BEAUTIFUL W O M A N 752
Howard Nemerov ■ THE W AR IN THE AIR 753
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Page xxxi
Contents xxxi
AP*
Lorine Niedecker ■ POET’S W ORK 753
Yone Noguchi ■ A SELECTION OF HOKKU 754
Sharon Olds ■ THE ONE GIRL AT THE BOYS’ PARTY 754
Wilfred Owen ■ A NTHE M FOR DOO M ED YOUTH 755
Linda Pastan ■ ETHICS 756
Sylvia Plath ■ D A DDY 757
Alexander Pope ■ A LITTLE LEARNING IS A D A NG’ROUS THING 759
Ezra Pound ■ THE RIVER- M ERCHA NT’S WIFE: A LETTER 760
Dudley Randall ■ A DIFFERENT I M AGE 761
Henry Reed ■ N A MING OF PARTS 762
Adrienne Rich ■ LIVING IN SIN 762
Edwin Arlington Robinson ■ MINIVER CHEEVY 763
Theodore Roethke ■ ELEGY FOR JA NE 764
William Shakespeare ■ WHEN, IN DISGRA CE WITH FORTUNE A N D
AP*
William Shakespeare
AP*
AP*
AP*
AP*
M EN ’S EYES
M E BEHOLD
AP*
AP*
AP*
AP*
AP*
AP*
AP*
AP*
AP*
AP*
AP*
■
THAT TI M E OF YEAR THOU M AYST IN
■
M Y MISTRESS’ EYES ARE NOTHING LIKE
766
William Shakespeare
THE SUN
AP*
AP*
765
767
David R. Slavitt ■ TITA NIC 767
Cathy Song ■ STA MP COLLECTING 768
Wallace Stevens ■ THE E MPEROR OF ICE-CREA M 769
Larissa Szporluk ■ VERTIGO 770
Sara Teasdale ■ THE FLIGHT 771
Alfred, Lord Tennyson ■ D ARK HOUSE, BY WHICH ONCE M ORE
I STA N D
771
Alfred, Lord Tennyson ■ ULYSSES 772
Dylan Thomas ■ FERN HILL 774
John Updike ■ EX-BASKETBALL PLAYER 775
Derek Walcott ■ THE VIRGINS 776
Edmund Waller ■ GO, LOVELY ROSE 777
Walt Whitman ■ FROM SONG OF THE OPEN RO A D 778
Walt Whitman ■ I HEAR A M ERIC A SINGING 779
Richard Wilbur ■ THE WRITER 779
William Carlos Williams ■ SPRING A N D ALL 780
William Wordsworth ■ COMPOSED UPON WESTMINSTER BRIDGE 781
James Wright ■ AUTU M N BEGINS IN M ARTINS FERRY, OHIO 782
Mary Sidney Wroth ■ IN THIS STRA NGE LABYRINTH 782
Sir Thomas Wyatt ■ THEY FLEE FRO M M E THAT SO M ETI M E DID
M E SEKË
783
William Butler Yeats ■ CRAZY JA NE TALKS WITH THE BISHOP
William Butler Yeats ■ WHEN YOU ARE OLD 785
Bernice Zamora ■ PENITENTS 785
784
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Page xxxii
xxxii Contents
DRAM A
31 Reading a Play
791
A Play in Its Ele m ents
Susan Glaspell
■
793
TRIFLES
793
Was Minnie Wright to blame for the death of her husband? While the menfolk
try to unravel a mystery, two women in the kitchen turn up revealing clues.
WRITING EFFECTIVELY
Susan Glaspell
■
CREATING TRIFLES
809
WRITIN G A B O UT C O N F LIC T
Conflict Resolution 810
C H E C KLIST
Analyzing Conflict
811
WRITIN G A SSIG N M E N T O N C O N F LIC T
811
811
32 Modes of Drama: Tragedy and Comedy
Tragedy
812
812
Christopher Marlowe
(Act 2, Scene 1)
■
SCENE FROM DOCTOR F AUSTUS
814
In this scene from the classic drama, a brilliant scholar sells his soul to the
devil. How smart is that?
Com edy
820
Jane Martin
■
BEAUTY
822
We’ve all wanted to be someone else at one time or another. But what would
happen if we got our wish?
WRITING EFFECTIVELY
WRITIN G A B O UT C O M EDY
Getting Serious About Com edy
827
C H E C KLIST
Writing About a Com edy
828
WRITIN G ASSIG N M E NT O N C O M EDY
828
TO PICS F OR WRITIN G O N TRA GEDY
828
TO PICS F OR WRITIN G O N C O M EDY
828
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Contents xxxiii
33 Critical Casebook: Sophocles
The The ater of Sophocles
Staging
AP*
829
829
830
The Civic Role of Gre ek Dra m a
832
Aristotle’s Concept of Tragedy
Sophocles 835
834
THE ORIGINS OF OEDIPUS THE KING 836
Sophocles ■ OEDIPUS THE KING (Translated by Dudley Fitts and
Robert Fitzgerald) 837
“Who is the man proclaimed / by Delphi’s prophetic rock / as the bloody
handed murderer / the doer of deeds that none dare name? / . . . Terrribly
close on his heels are the Fates that never miss.”
Critics
ON
Sophocles
Aristotle ■ DEFINING TRAGEDY 875
Sigmund Freud ■ THE DESTINY OF OEDIPUS 877
E. R. Dodds ■ ON MISUN DERSTA N DING OEDIPUS 878
A. E. Haigh ■ THE IRONY OF SOPHOCLES 879
David Wiles ■ THE CHORUS AS DE M OCRAT 880
WRITING EFFECTIVELY
Robert Fitzgerald
■
TRA NSLATING SOPHOCLES INTO ENGLISH
881
WRITIN G A B O UT GREEK TRA GEDY
Som e Things Change, Som e Things Don’t
882
C H E C KLIST
Analyzing Gre ek Tragedy
882
WRITIN G ASSIG N M E NT O N SO PH O CLES
882
883
34 Critical Casebook: Shakespeare
AP*
The The ater of Shakespe are
William Shakespeare 886
A Note on Othello 887
William Shakespeare
■
884
885
OTHELLO, THE M OOR OF VENICE
888
Here is a story of jealousy, that “green-eyed monster which doth mock / The
meat it feeds on”—of a passionate, suspicious man and his blameless wife, of
a serpent masked as a friend.
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Page xxxiv
xxxiv Contents
Critics
ON
Shakespe are
Anthony Burgess
■ A N ASIA N CULTURE LOOKS AT
SHAKESPEARE 990
W. H. Auden ■ IAGO AS A TRIU MPHA NT VILLAIN 991
Maud Bodkin ■ LUCIFER IN SHAKESPEARE’S OTHELLO 992
Virginia Mason Vaughan ■ BLA CK A N D WHITE IN
OTHELLO 993
Clare Asquith ■ SHAKESPEARE’S LA NGUAGE AS A HIDDEN
POLITIC AL CODE 993
WRITING EFFECTIVELY
AP*
Ben Jonson
ON HIS FRIEN D A N D RIVAL WILLIA M SHAKESPEARE
■
995
WRITIN G A B O UT SH A KESPE ARE
Bre aking the Language Barrier 995
C H E C KLIST
Re ading a Shakespe are an Play
996
WRITIN G ASSIG N M E NT O N TRA GEDY
Student Paper
■
35 The Modern Theater
Re alism and Naturalism
AP*
Henrik Ibsen
■
996
OTHELLO: TRAGEDY OR SO AP OPERA?
997
1001
1002
1002
A DOLL’S HOUSE (Translated by James McFarlane)
1004
The founder of modern drama portrays a troubled marriage. Helmer, the bank
manager, regards his wife Nora as a chuckleheaded pet—not knowing the
truth may shatter his smug world.
AP*
Henrik Ibsen
■ CORRESPON DENCE ON THE FIN AL SCENE OF
A DOLL’S HOUSE 1060
WRITING EFFECTIVELY
WRITIN G A B O UT DRA M A TIC RE A LISM
What’s so Re alistic About Re alism? 1062
C H E C KLIST
Writing About a Re alist Play
1062
WRITIN G A SSIG N M E N T O N RE A LISM
Student Essay
■
HELM ER VS. HELM ER
1067
1063
1064
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Page xxxv
Contents xxxv
36 Plays for Further Reading
Terrence McNally
■
1068
A N DRE’S M OTHER
1068
After Andre’s funeral the four people who loved him most walk into Central
Park together. Three of them talk about their grief, but Andre’s mother
remains silent about her son, dead of AIDS.
Terrence McNally
AP*
Arthur Miller
■
■
HO W TO WRITE A PLAY
DEATH OF A SALES M A N
1071
1072
Willy Loman has bright dreams for himself and his two sons, but he is an aging
salesman whose only assets are a shoeshine and a smile. A modern classic
about the downfall of an ordinary American.
AP*
Arthur Miller
AP*
Tennessee Williams
■
TRAGEDY A N D THE CO M M ON M A N
THE GLASS M EN AGERIE
■
1142
1145
Painfully shy and retiring, shunning love, Laura dwells in a world as fragile as
her collection of tiny figurines—until one memorable night a gentleman comes
to call.
AP*
Tennessee Williams
AP*
Lorraine Hansberry
HO W TO STAGE THE GLASS MENAGERIE
■
■
A RAISIN IN THE SUN
1193
1195
After receiving an insurance check, a family clashes over how to use the money
to better their lives.
(Taken from: Exploring Literature, Third Edition, by Frank Madden)
WRITING
37 Writing About Literature
Re ading Actively
AP*
Robert Frost
■
1257
1257
NOTHING GOLD C A N STAY
Planning Your Essay
1258
1259
Pre writing: Discovering Ide as
1260
Sample Student Prewriting Exercises
Developing a Literary Argum ent
C H E C KLIST
Developing a Literary Argum ent
1266
1264
1260
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xxxvi Contents
Writing a Rough Draft
1266
Sample Student Paper
Revising
(ROUGH DRA FT)
■
1267
1269
C H E C KLIST
Revision Steps
1273
Som e Final Advice on Re writing
1274
(REVISED DRA FT)
■
1275
Using Critical Sources and Maintaining Acade mic Integrity
The Form of Your Finished Paper
38 Writing About a Story
Re ading Actively
1278
1278
1280
1280
Thinking About a Story
1282
Preparing to Write: Discovering Ide as
1282
Writing a First Draft
1282
1285
C H E C KLIST
Revising
1286
1286
C H E C KLIST
1288
Revision
What’s Your Purpose? Som e Com mon Approaches to Writing
About Fiction 1288
E X PLIC A TIO N
1288
A N ALYSIS
■
(EXPLIC ATION)
■
(A N ALYSIS)
1290
1293
THE C ARD REPORT
1297
Sample Student Card Report
1298
C O M P ARISO N A N D C O NTRAST
Topics for Writing
1303
1294
■
1300
(CO MPARISON A N D CONTRAST)
1301
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Page xxxvii
Contents xxxvii
39 Writing About a Poem
Getting Started
1305
Re ading Actively
AP*
Robert Frost
■
1305
1305
DESIGN
1306
Thinking About a Poe m
1306
Preparing to Write: Discovering Ide as
1307
Writing a First Draft
1307
1310
C H E C KLIST
Revising
1311
1312
C H E C KLIST
1314
Revision
Som e Com mon Approaches to Writing About Poetry
E X PLIC A TIO N
■
(EXPLIC ATION)
1315
A CRITIC ’S E X PLIC A TIO N O F F ROST’S “ D ESIG N ”
A N ALYSIS
1318
1319
■
(A N ALYSIS)
1320
1322
Abbie Huston Evans ■ WING-SPREA D 1322
Sample Student Paper ■ (CO MPARISON A N D CONTRAST)
Ho w to Quote a Poe m
Topics for Writing
AP*
Robert Frost
■
1325
1327
IN WHITE
1328
40 Writing About a Play
Re ading a Play
1330
1330
Com mon Approaches to Writing About Dra m a
E X PLIC A TIO N
A N ALYSIS
1314
1314
1332
1332
1332
1323
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Page xxxviii
xxxviii Contents
A DRA M A REVIEW
1333
Sample Student Drama Review
Ho w to Quote a Play
Topics for Writing
1332
1334
1335
1337
41 Writing a Research Paper
Getting Started
1339
1339
Choosing a Topic
1340
Finding Rese arch Sources
1340
FIN DIN G PRINT RESO URC ES
1340
USIN G O NLIN E D A T A B A SES
1341
F IN DIN G RELIA BLE W E B SO URC ES
1341
C H E C KLIST
Finding Sources
1342
USIN G VISU AL IM A GES
1343
C H E C KLIST
Using Visual Im ages
1344
Evaluating Sources
1344
EV ALU A TIN G PRINT RESO URC ES
EV ALU ATING WEB RESOURCES
C H E C KLIST
Evaluating Sources
1345
Organizing Your Rese arch
Refining Your Thesis
1346
1347
Organizing Your Paper
Writing and Revising
1347
1348
Guarding Acade mic Integrity
Ackno wledging Sources
QUOTING A SOURCE
CITIN G IDE AS
1350
1349
1349
1348
1344
1344
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Page xxxix
Contents xxxix
Docum enting Sources Using MLA Style
LIST O F SO URC ES
1351
1351
PARENTHETIC AL RE F EREN CES
W ORKS CITE D LIST
1351
1352
CITIN G PRINT SO URC ES IN MLA STYLE
1352
CITIN G INTERN ET SO URC ES IN MLA STYLE
SA M PLE W ORKS CITE D LIST
Concluding Thoughts
1354
1355
1356
Writing Assignm ent for Rese arch Paper
1356
Sample Student Research Paper 1356
Reference Guide for Citations
42 Writing an Essay Exam
1363
1370
C H E C KLIST
Exa m Preparation 1374
Taking the Exa m 1374
43 Critical Approaches to Literature
Form alist Criticism
1375
1376
Cleanth Brooks ■ THE FOR M ALIST CRITIC 1376
Michael Clark ■ LIGHT A N D D ARKNESS IN “SON NY’S BLUES”
Biographical Criticism
1378
Brett C. Millier
ON ELIZABETH BISHOP’S “ ONE ART”
Emily Toth ■ THE SOURCE FOR ALCÉE LABALLIÈRE IN
■
“THE STOR M ”
1377
1379
1380
Historical Criticism
1381
Hugh Kenner
I M AGIS M 1382
Kathryn Lee Seidel ■ THE ECONO MICS OF ZORA NEALE HURSTON ’S
■
“SWEAT”
1383
Psychological Criticism
1385
Sigmund Freud ■ THE N ATURE OF DREA M S
Harold Bloom ■ POETIC INFLUENCE 1387
1386
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Page xl
xl Contents
Mythological Criticism
Carl Jung
1387
THE COLLECTIVE UNCONSCIOUS A N D
ARCHETYPES 1388
Edmond Volpe ■ M YTH IN F AULKNER’S “BARN BURNING”
■
Sociological Criticism
1389
1391
Georg Lukacs ■ CONTENT DETER MINES FOR M 1392
Daniel P. Watkins ■ M ONEY A N D LABOR IN “THE ROCKING-HORSE
WIN NER”
1392
Gender Criticism
1394
Elaine Showalter ■ TO W ARD A FE MINIST POETICS 1394
Sandra M. Gilbert and Susan Gubar ■ THE FREEDO M OF
E MILY DICKINSON
1395
Re ader-Response Criticism
1396
Stanley Fish ■ A N ESKI M O “ A ROSE FOR E MILY” 1397
Robert Scholes ■ “HO W DO WE M AKE A POE M?” 1398
Deconstructionist Criticism
1400
Roland Barthes ■ THE DEATH OF THE AUTHOR 1400
Geoffrey Hartman ■ ON W ORDSW ORTH’S “ A SLU M BER DID M Y
SPIRIT SEAL”
1401
Cultural Studies
1402
Vincent B. Leitch
POSTSTRUCTURALIST CULTURAL CRITIQUE
Mark Bauerlein ■ WHAT IS CULTURAL STUDIES? 1405
■
Appendix 1: Public Speaking
1404
AP1
(Taken from: Public Speaking Handbook, Third Edition, by Steven A. Be ebe and Susan J. Be ebe)
Appendix 2: Listening Skills
AP12
(Taken from: Public Speaking Handbook, Third Edition, by Steven A. Be ebe and Susan J. Be ebe)
Appendix 3: AP* Exam Preparation
AP* Correlation Chart AP20
Glossary of Literary Terms G1
Acknowledgments A1
Index of First Lines of Poetry I1
Index of Authors and Titles I5
Index of Literary Terms I20
AP15
2/26/09
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Page xli
Te acher to Te acher
Dear Colleagues,
The demands placed upon the AP literature teacher require resources, diligence,
and creativity. Our task requires that we show our students how to make insightful,
persuasive arguments about an aesthetic work as well as teach them how literature
produces meaning. We know it is never adequate for our students merely to say what a
text means; they must, instead, explain how various literary devices generate meaning,
perhaps the trickiest and most complicated task for young readers and writers and certainly the most challenging instructional objective we face.
What further complicates the reality of our classrooms is the wide range of students sitting before us—some equipped with the skills of literary analysis, others unfamiliar with the language of interpretation. Fortunately, the Pearson Longman text
Literature: An Introduction to Fiction, Poetry, Drama, and Writing provides a comprehensive instructional set of resources both for our students and for ourselves as teachers as it grounds us in many of the most stimulating works of literature.
I’d like to call particular attention to those components of this anthology that assist us in helping students develop interpretive skills. In all three genres—short story,
poetry, and drama—the anthology is organized around apt explanations of key literary
devices, those essential building blocks that construct the author’s conceptual thinking and the language necessary for students to acquire when speaking and writing
about a text. The “Checklist” questions for each device, located at the end of each
section, guide students as they ponder how the literary device informs the meaning of
the text. These questions not only assist the student just learning about the role of
plot, for instance, but also remind more advanced students, who always need to refine
their thinking, of salient issues that they have overlooked. Instructionally helpful as
well is the feature in the poetry section where, after numerous poems, the authors suggest additional poetry to place in juxtaposition, a gift for teachers seeking to construct
lessons in comparison and contrast, an essential intellectual skill asked of students on
the AP exam.
Effective instruction also demands that we provide students useful models. Simply
dialoguing in class about literature will not produce successful results on the AP exam;
we must show students how to write, how to sequence their ideas on the page so that
their thinking is clear and concise and inviting. Fortunately, teachers will find this anthology replete with student-written analytical papers as well as expository models by
professional writers. The book’s helpful examples of the writing process, its sample
drafts transformed into final essays and the pertinent annotations of passages found
therein, are effective teaching tools. Also included are tutorials in active reading, especially helpful for readers and writers new to the AP program.
With this comprehensive anthology, editors Gioia and Kennedy have assembled
the material necessary for us to teach our students the core principles of literary analysis. Additional resources for users of this text can be found online at www.mylitera*Advanced Placement Program, AP, and Pre-AP are registered trademarks of The College Board, which
was not involved in the production of, and does not endorse this book.
xli
2/26/09
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Page xlii
xlii Teacher to Teacher
turelab.com. Freeing us from the time-consuming task of searching for materials, Literature: An Introduction to Fiction, Poetry, Drama, and Writing allows us as educators to
focus our energies on the essential task at hand, teaching our students how to read literature, how to draw meaning from it, and how to write well about it.
Michael Degen, Ph.D.
Jesuit College Preparatory School
Dallas, TX
2/26/09
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Page xliii
Preface
This AP* Edition of Literature—the book in your hands—is really four interlocking
volumes sharing one cover. Each of the first three sections is devoted to one of the
major literary forms—fiction, poetry, and drama. The fourth section is a comprehensive introduction to critical writing. All of the sections are supported by our webbased resource, MyLiteratureLab, which provides a variety of interesting and useful
audio lectures, interactive readings, background material, and writing and research
resources. This book has two major goals. First, it introduces students to the appreciation and experience of literature in its major forms. Second, it aims to develop the
student’s ability to think critically and communicate effectively through writing.
Both editors of this book are writers. We believe that textbooks should be not
only informative and accurate but also lively, accessible, and engaging. In education,
it never hurts to have a little fun. Our intent has always been to write a book that
students will read eagerly and enjoy. The AP* Edition of Literature tries to offer
everything that an instructor will need to expose their high school students to a college-level introductory class without overloading them with too much material. The
AP* Edition of Literature offers a number of compelling features:
Key Features
We have created this AP* edition of Literature with the simple aim of introducing
useful features to provide the high school student with a reasonably compact introduction to the study and appreciation of stories, poems, and plays, as well as practical
advice on the sort of writing expected in a college-level introductory Literature
course.
■
Access to MyLiteratureLab: MyLiteratureLab is a web-based state-of-the-art
interactive learning system designed to accompany Literature and help students
in their literature course. It adds a new dimension to the study of literature with
Longman Lectures—evocative, richly illustrated audio readings along with advice on how to read, interpret, and write about literary works from our roster of
Longman authors (including X. J. Kennedy). This powerful program also features
Diagnostic tests, Interactive Readings, with clickable prompts, film clips of selections in Literature, sample student papers, Literature Timelines, Avoiding Plagiarism, Research Navigator research tools, and Exchange, an electronic instructor/peer feedback tool. Throughout the text, you will notice MLL screen icons in
the margins. An icon next to an author’s name indicates that further resources
about that author are available on MyLiteratureLab. An icon next to the selection title means that the material concerns the selection. Additionally, a convenient media index at the front of the text outlines the specific resources that are
available. For more information, go to www.MyLiteratureLab.com.
*Advanced Placement Program, AP, and Pre-AP are registered trademarks of The College Board, which
xliii
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Page xliv
xliv Preface
■
■
■
■
■
■
■
■
■
High school teachers can obtain teacher and student adoption or preview access in one of two ways:
• By registering online at www.pearsonschool.com/access_request
• Through the use of a physical pincode card. High school adopters will receive an adopter access pincode card (ISBN 0130343919) with their textbook
order. Preview access pincode cards may be requested using ISBN 0131115989.
Both adopter and preview pincode cards include follow-on directions and provide
teacher and student access.
All teacher requests will be verified. For questions concerning access,
please contact your local Pearson sales representative or email [email protected].
AP*-specific materials—two special sections designed to help you to prepare your
students for the AP* English Literature Exam. The first can be found in the next section of this preface. The “Using Literature in Your Pre-AP* or AP* Course” section is essentially a correlation between the resources available in this text and the
course description provided by the College Board for the Advanced Placement*
course in English Literature and Composition. You can access this course description
on the College Board’s website at www.collegeboard.com. The second section is the
“AP* Exam Preparation” appendix found at the back of this book. This appendix is
a specially designed section to help your students prepare for the AP* exam. It provides information about the exam, general test-taking strategies, the top ten content-based tips for AP* exam success from an experienced AP* teacher and trainer
of AP* teachers, and a full-length practice exam with annotated answers. In addition, the Instructor’s Resource Manual contains AP* Test Prep Guide with additional resources for teachers and students. See page xlvi for more information.
Diverse and exciting selections—46 short stories, 369 poems, and 10 plays, mixing traditional favorites with exciting contemporary work from around the globe.
The new “Illustrated Shakespeare”—Shakespeare’s Othello now includes over
a dozen attractive production photos to make the work more engaging and
accessible to students.
Eight extensive casebooks—five author casebooks (Flannery O’Connor, Emily
Dickinson, Langston Hughes, Sophocles, and William Shakespeare), as well as
three masterpiece casebooks on specific selections (Edgar Allan Poe’s “The TellTale Heart,” Charlotte Perkins Gilman’s “The Yellow Wallpaper,” and T. S.
Eliot’s “The Love Song of J. Alfred Prufrock”).
Chapter on Latin American poetry—a unique feature that invites students to
experience an important world poetry in a different language and in English
translation. Bilingual texts from Sor Juana, Pablo Neruda, Jorge Luis Borges,
Octavio Paz, and others illuminate different cultural experiences.
Abundant critical coverage—99 critical excerpts, including a comprehensive
survey of ten major schools of literary criticism and theory.
New writing features in every chapter—a comprehensive introduction to
composition and critical thinking, including easy-to-use checklists, exercises,
model papers, and practical advice.
Seven newly revised chapters on writing, argument, and critical thinking—
extensively revised writing coverage, which includes a step-by-step discussion of the
writing process and developing a literary argument, illustrated by student papers and
writing excerpts. Expanded and updated chapter on writing a research paper.
New chapter on writing an essay exam—added in response to instructors’
requests to meet this important student need.
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Page xlv
Preface xlv
■
■
Real student writing—15 papers and reports by real students, with annotations,
provide credible examples on how to write about literature.
Thousands of small updates and revisions—reflect the authors’ desire to keep
the book fresh and relevant for today’s students.
All in all, we have tried to create a book to help readers develop sensitivity to
language, culture, and identity, to lead them beyond the boundaries of their own
selves, and to see the world through the eyes of others. This book is built on the
assumption that great literature can enrich and enlarge the lives it touches.
Resources for Students and Instructors
For Students
The following supplements are available for purchase.
MyLiteratureLab
MyLiteratureLab provides a rich array of audio lectures, including three given by X. J.
Kennedy, interactive readings, film clips, critical articles, writing and research resources,
and student papers about key literary selections. For more information, see page xliii.
Companion Website
The text’s open access website (www.pearsonhighered.com/kennedy) offers a multitude of additional resources including biographies, bibliographies, and links to sites
about many of the authors found in Literature.
Handbook of Literary Terms, Second Edition
Handbook of Literary Terms, Second Edition, by X. J. Kennedy, Dana Gioia, and Mark
Bauerlein is a user-friendly primer of over 350 critical terms brought to life with literary examples, pronunciation guides, and scholarly yet accessible explanations.
Aimed at undergraduates getting their first taste of serious literary study, the volume
will help students engage with the humanities canon and become critical readers and
writers ready to experience the insights and joys of great fiction, poetry, and drama.
Sourcebooks Shakespeare
This revolutionary book and CD format offers the complete text of a Shakespeare play
with rich illustrations, extensive explanatory and production notes, and a glossary. An
accompanying audio CD—narrated by actor Sir Derek Jacobi—features recordings
from memorable productions to contrast different interpretations of the play and its
characters.
Responding to Literature: A Writer’s Journal
This journal provides students with their own personal space for writing. Helpful
writing prompts for responding to fiction, poetry, and drama are also included.
Evaluating Plays on Film and Video
This guide walks students through the process of analyzing and writing about plays on
film, whether in a short review or a longer essay. It covers each stage of the process,
from preparing and analyzing material through writing the piece. The four appendixes include writing and editing tips and a glossary of film terms. The final section of
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xlvi Preface
the guide offers worksheets to help students organize their notes and thoughts before
they begin writing.
Evaluating a Performance
Perfect for the student assigned to review a local production, this supplement offers
students a convenient place to record their evaluations. Useful tips and suggestions
of things to consider when evaluating a production are included.
For Teachers
Most of the teacher supplements and resources for this book are available electronically for adoption preview and download on the IRC. Please go to www
.PearsonSchool.com/Access_Request and select “access to online instructor resources.” You will be required to complete a one time registration subject to verification before being emailed access information for download materials.
The following teacher supplements are available to qualified adopters.
Instructor’s Resource Manual with AP* Test Prep Guide
This special AP* targeted manual is available to teachers. The guide provides teaching resources for over one hundred of the most popular readings at the high school
level, and an additional practice exam that is accompanied by annotated answers.
PowerPoint Presentations
Targeted at the high school classroom, there is a presentation to accompany each
thematic chapter. Presentations focus on exploring the literary elements covered in
the chapter and include an in-depth analysis of that element in one of the works presented in the chapter.
Instructor’s Manual
A separate Instructor’s Manual is available to teachers. If you have never seen our
Instructor’s Manual before, don’t prejudge it. We actually write the manual ourselves,
and we work hard to make it as interesting, lively, and informed as the parent text. It
offers commentary and teaching ideas for every selection in the book. It also contains
additional commentary, debate, qualifications, and information—including scores of
classroom ideas—from over 100 teachers and authors. As you will see, our Instructor’s
Manual is no ordinary supplement.
Teaching Composition with Literature
For instructors who either use Literature in expository writing courses or have a special
emphasis on writing in their literature courses, there is an invaluable supplement,
Teaching Composition with Literature: 101 Writing Assignments from College Instructors.
Edited by Dana Gioia and Patricia Wagner, it collects proven writing assignments and
classroom exercises from scores of instructors across North America. Each assignment
or exercise uses one or more selections in Literature as its departure point. A great
many instructors have enthusiastically shared their best writing assignments for
Teaching Composition with Literature.
Teaching Literature Online, Second Edition
Concise and practical, Teaching Literature Online provides teachers with strategies
and advice for incorporating elements of computer technology into the literature
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Preface xlvii
classroom. Offering a range of information and examples, this manual provides ideas
and activities for enhancing literature courses with the help of technology.
The Longman Electronic Testbank for Literature
This electronic test bank features various objective questions on major works of fiction, short fiction, poetry, and drama. With this user-friendly CD-ROM, teachers
simply choose questions from the electronic test bank, then print out the completed
test for distribution.
Thanks
The collaboration necessary to create this new edition goes far beyond the partnership of its two editors. Literature: An Introduction to Fiction, Poetry, Drama, and
Writing was shaped by wisdom and advice from instructors who actually put it to the
test—and also from a number who, in teaching literature, preferred other textbooks
to it, but who generously criticized this book anyway and made suggestions for it.
Deep thanks to the following reviewers: Michael Degen, Jesuit College Preparatory
School, Dallas, TX; Betsy Berry, Midway High School, Waco, TX; Susan L. Frediani,
Quincy High School, Quincy, CA; Peggy M. Leeman, Bryan Adams High School
and Yavneh Academy, Dallas, TX; Karen Smith, Rodriguez High School, Fairfield,
CA; Paula Jay, Elkins High School, Missouri City, TX; Joyce Wascom, Poteet High
School, Mesquite, TX; and James M. Ford, Coral Reef High School, Miami, FL.
Deep thanks also to the following additional reviewers: Alvaro Aleman, University of Florida; Jonathan Alexander, University of Southern Colorado; Ann P. Allen,
Salisbury State University; Brian Anderson, Central Piedmont Community College;
Kimberly Green Angel, Georgia State University; Carmela A. Arnoldt, Glendale
Community College; Herman Asarnow, University of Portland; Beverly Bailey,
Seminole Community College; Carolyn Baker, San Antonio College; Rosemary
Baker, State University of New York at Morrisville; Lee Barnes, Community College
of Southern Nevada, Las Vegas; Sandra Barnhill, South Plains College; Bob Baron,
Mesa Community College; Melinda Barth, El Camino Community College; Robin
Barrow, University of Iowa; Joseph Bathanti, Mitchell Community College; Judith
Baumel, Adelphi University; Anis Bawarski, University of Kansas; Bruce Beckum,
Colorado Mountain College; Elaine Bender, El Camino Community College;
Pamela Benson, Tarrant County Junior College; Jennifer Black, McLennan Community College; Brian Blackley, North Carolina State University; Debbie Borchers,
Pueblo Community College; Alan Braden, Tacoma Community College; Glenda
Bryant, South Plains College; Paul Buchanan, Biola University; Andrew Burke, University of Georgia; Jolayne Call, Utah Valley State College; Stasia Callan, Monroe
Community College; Uzzie T. Cannon, University of North Carolina at Greensboro;
Al Capovilla, Folsom Lake Community College; Eleanor Carducci, Sussex County
Community College; Thomas Carper, University of Southern Maine; Jean W. Cash,
James Madison University; Michael Cass, Mercer University; Patricia Cearley, South
Plains College; Fred Chancey, Chemeketa Community College; Kitty Chen, Nassau
Community College; Edward M. Cifelli, County College of Morris; Marc Cirigliano,
Empire State College; Bruce Clary, McPherson College; Maria Clayton, Middle Tennessee State University; Cheryl Clements, Blinn College; Jerry Coats, Tarrant
County Community College; Peggy Cole, Arapahoe Community College; Doris
Colter, Henry Ford Community College; Dean Cooledge, University of Maryland
Eastern Shore; Patricia Connors, University of Memphis; Steve Cooper, California
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State University, Long Beach; Cynthia Cornell, DePauw University; Ruth Corson,
Norwalk Community Technical College, Norwalk; James Finn Cotter, Mount St.
Mary College; Dessa Crawford, Delaware Community College; Janis Adams Crowe,
Furman University; Allison M. Cummings, University of Wisconsin, Madison; Elizabeth Curtin, Salisbury State University; Robert Darling, Keuka College; Denise
David, Niagara County Community College; Alan Davis, Moorhead State University; Kathleen De Grave, Pittsburg State University; Apryl Denny, Viterbo University; Fred Dings, University of South Carolina; Leo Doobad, Stetson University;
Stephanie Dowdle, Salt Lake Community College; Dennis Driewald, Laredo Community College; David Driscoll, Benedictine College; John Drury, University of
Cincinnati; Tony D’Souza, Shasta College; Victoria Duckworth, Santa Rosa Junior
College; Ellen Dugan-Barrette, Brescia University; Dixie Durman, Chapman University; Bill Dynes, University of Indianapolis; Janet Eber, County College of Morris;
Terry Ehret, Santa Rosa Junior College; George Ellenbogen, Bentley College; Peggy
Ellsberg, Barnard College; Toni Empringham, El Camino Community College; Lin
Enger, Moorhead State University; Alexina Fagan, Virginia Commonwealth University; Lynn Fauth, Oxnard College; Annie Finch, University of Southern Maine;
Katie Fischer, Clarke College; Susan Fitzgerald, University of Memphis; Juliann
Fleenor, Harper College; Richard Flynn, Georgia Southern University; Billy
Fontenot, Louisiana State University at Eunice; Deborah Ford, University of Southern Mississippi; Doug Ford, Manatee Community College; James E. Ford, University
of Nebraska, Lincoln; Peter Fortunato, Ithaca College; Ray Foster, Scottsdale Community College; Maryanne Garbowsky, County College of Morris; John Gery, University of New Orleans; Mary Frances Gibbons, Richland College; Maggie Gordon,
University of Mississippi; Joseph Green, Lower Columbia College; William E. Gruber, Emory University; Huey Guagliardo, Louisiana State University; R. S. Gwynn,
Lamar University; Steven K. Hale, DeKalb College; Renée Harlow, Southern Connecticut State University; David Harper, Chesapeake College; John Harper, Seminole Community College; Iris Rose Hart, Santa Fe Community College; Karen
Hatch, California State University, Chico; Jim Hauser, William Patterson College;
Kevin Hayes, Essex County College; Jennifer Heller, Johnson County Community
College; Hal Hellwig, Idaho State University; Gillian Hettinger, William Paterson
University; Mary Piering Hiltbrand, University of Southern Colorado; Martha
Hixon, Middle Tennessee State University; Jan Hodge, Morningside College; David
E. Hoffman, Averett University; Mary Huffer, Lake Sumter Community College; Patricia Hymson, Delaware County Community College; Carol Ireland, Joliet Junior
College; Alan Jacobs, Wheaton College; Ann Jagoe, North Central Texas College;
Kimberlie Johnson, Seminole Community College; Peter Johnson, Providence College; Ted E. Johnston, El Paso Community College; Cris Karmas, Graceland University; Howard Kerner, Polk Community College; Lynn Kerr, Baltimore City Community College; D. S. Koelling, Northwest College; Dennis Kriewald, Laredo
Community College; Paul Lake, Arkansas Technical University; Susan Lang, Southern Illinois University; Greg LaPointe, Elmira College; Tracy Lassiter, Eastern Arizona College; Sherry Little, San Diego State University; Alfred Guy Litton, Texas
Woman’s University; Heather Lobban-Viravong, Grinnell College; Karen Locke,
Lane Community College; Eric Loring, Scottsdale Community College; Gerald
Luboff, County College of Morris; Susan Popkin Mach, UCLA; Samuel Maio, California State University, San Jose; Paul Marx, University of New Haven; David Mason, Colorado College; Mike Matthews, Tarrant County Junior College; Beth Max-
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field, Henderson State University; Janet McCann, Texas A&M University; Susan
McClure, Indiana University of Pennsylvania; Kim McCollum-Clark, Millersville
University; David McCracken, Texas A&M University; Nellie McCrory, Gaston College; William McGee, Jr., Joliet Junior College; Kerri McKeand, Joliet Junior College; Robert McPhillips, Iona College; Jim McWilliams, Dickinson State University;
Elizabeth Meador, Wayne Community College; Bruce Meyer, Toronto; Tom Miller,
University of Arizona; Joseph Mills, University of California at Davis; Cindy Milwe,
Santa Monica High School; Dorothy Minor, Tulsa Community College; Mary Alice
Morgan, Mercer University; Samantha Morgan, University of Tennessee; Bernard
Morris, Modesto Junior College; Brian T. Murphy, Burlington Community College;
Madeleine Mysko, Johns Hopkins University; Kevin Nebergall, Kirkwood Community College; Eric Nelson, Georgia Southern University; Jeff Newberry, University of
West Florida; Marsha Nourse, Dean College; Hillary Nunn, University of Akron;
James Obertino, Central Missouri State University; Julia O’Brien, Meredith College;
Sally O’Friel, John Carroll University; Elizabeth Oness, Viterbo College; Regina B.
Oost, Wesleyan College; Mike Osborne, Central Piedmont Community College; Jim
Owen, Columbus State University; Jeannette Palmer, Motlow State Community
College; Mark Palmer, Tacoma Community College; Dianne Peich, Delaware
County Community College; Betty Jo Peters, Morehead State University; Timothy
Peters, Boston University; Norm Peterson, County College of Morris; Susan Petit,
College of San Mateo; Louis Phillips, School of Visual Arts; Robert Phillips, University of Houston; Rodney Phillips, New York Public Library; Jason Pickavance, Salt
Lake Community College; Teresa Point, Emory University; Deborah Prickett, Jacksonville State University; William Provost, University of Georgia; Wyatt Prunty,
University of the South, Sewanee; Allen Ramsey, Central Missouri State University;
Ron Rash, Tri-County Technical College; Michael W. Raymond, Stetson University; Mary Anne Reiss, Elizabethtown Community College; Barbara Rhodes, Central
Missouri State University; Diane Richard-Alludya, Lynn University; Gary Richardson, Mercer University; Fred Robbins, Southern Illinois University; Doulgas Robillard Jr., University of Arkansas at Pine Bluff; Daniel Robinson, Colorado State University; Dawn Rodrigues, University of Texas, Brownsville; Linda C. Rollins, Motlow
State Community College; Mark Rollins, Ohio University; Laura Ross, Seminole
Community College; Jude Roy, Madisonville Community College; M. Runyon, Saddleback College; Mark Sanders, College of the Mainland; Kay Satre, Carroll College;
Ben Sattersfield, Mercer University; SueAnn Schatz, University of New Mexico; Roy
Scheele, Doane College; Bill Schmidt, Seminole Community College; Beverly
Schneller, Millersville University; Meg Schoerke, San Francisco State University;
Janet Schwarzkopf, Western Kentucky University; William Scurrah, Pima Community College; Susan Semrow, Northeastern State University; Tom Sexton, University of Alaska, Anchorage; Chenliang Sheng, Northern Kentucky University; Roger
Silver, University of Maryland–Asian Division; Phillip Skaar, Texas A&M University; Michael Slaughter, Illinois Central College; Martha K. Smith, University of
Southern Indiana; Richard Spiese, California State, Long Beach; Lisa S. Starks,
Texas A&M University; John R. Stephenson, Lake Superior State University; Jack
Stewart, East Georgia College; Dabney Stuart, Washington and Lee University;
David Sudol, Arizona State University; Stan Sulkes, Raymond Walters College; Gerald Sullivan, Savio Preparatory School; Henry Taylor, American University; Jean
Tobin, University of Wisconsin Center, Sheboygan County; Linda Travers, University of Massachusetts, Amherst; Tom Treffinger, Greenville Technical College; Peter
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Ulisse, Housatonia Community College; Lee Upton, Lafayette College; Rex Veeder,
St. Cloud University; Deborah Viles, University of Colorado, Boulder; Joyce Walker,
Southern Illinois University–Carbondale; Sue Walker, University of South Alabama; Irene Ward, Kansas State University; Penelope Warren, Laredo Community
College; Barbara Wenner, University of Cincinnati; Mary Wilder, Mercer University; Nicole Williams; Terry Witek, Stetson University; Sallie Wolf, Arapahoe Community College; Beth Rapp Young, University of Alabama; William Zander, Fairleigh Dickinson University; Tom Zaniello, Northern Kentucky University; and
Guanping Zeng, Pensacola Junior College.
Two fine writers helped prepare the material used in this new edition. April
Lindner of Saint Joseph’s University in Philadelphia, Pennsylvania, served as associate editor for the writing section. Using her extensive teaching experience in both
literature and composition, she not only developed materials with the editors for this
book but also tested them in her classroom. Meanwhile, Michael Palma scrupulously
examined and updated every chapter from the previous edition. His deep knowledge
of literature and crisp sense of style kept the new edition fresh, informed, and accessible. Ongoing thanks also go to Diane Thiel of the University of New Mexico, who
originally helped develop the Latin American poetry chapter in the previous edition;
Susan Balée, who contributed to the chapter on writing a research paper; Mark
Bernier of Blinn College in Brenham, Texas, who helped improve the writing material of earlier editions; Joseph Aimone of Santa Clara University, who helped integrate
Web-based materials and research techniques into an earlier edition; and John
Swensson of De Anza College, who provided excellent practical suggestions from the
classroom.
On the publisher’s staff, Joseph Terry, Katharine Glynn, and Ann Stypuloski
made many contributions to the development and revision of the new edition.
Savoula Amanatidis and Lois Lombardo directed the complex job of managing the
production of the book from the manuscript to the final printed form. Virginia Creeden
handled the difficult job of permissions. Rona Tuccillo and Linda Sykes supervised the
expansion of photographs and artwork in the new edition. Jenna Egan oversaw work
on the Web site for the book.
Mary Gioia was involved in every stage of planning, editing, and execution. Not
only could the book not have been done without her capable hand and careful eye,
but her expert guidance made every chapter better.
Past debts that will never be repaid are outstanding to hundreds of instructors
named in prefaces past and to Dorothy M. Kennedy.
X. J. K AND D. G.
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Using Literature in Your
Pre-AP* or AP* Course
One of the major aims of the AP* Edition of Literature is to correlate our text to your
Pre-AP* or AP* course, according to the College Board’s English Literature and
Composition course description. In the table of contents, you will notice AP* icons
next to many author names. This icon signifies that the College Board lists this author as a Representative Author in its description for the AP* course in Literature
and Composition. The College Board is careful to note that its list of Representative
Authors is intended solely as a guide to aid AP* teachers in selecting appropriate
readings for the AP* course and should not be used as a set reading list. In other
words, some authors are on the list that will not be on the AP* exam, and some authors will be on the AP* exam that are not on the list.
The selections in the AP* Edition of Literature include the majority of authors
on the representative lists for fiction, poetry, and drama. For many of these authors,
Literature contains multiple selections, rich biographical information, sample student
papers, critical interpretations, and even commentaries from the authors themselves.
Other works in the anthology include a broad collection of traditional and contemporary works that incorporates multicultural, international, and female authors.
However, the applicability of Literature to the AP* course extends far beyond
our diverse selection of literature. The fifth edition offers extensive coverage of both
critical reading and writing. The Fiction, Poetry, and Drama parts of the fifth edition
each open with an introductory chapter that provides students with the basics of the
genre. Each chapter thereafter focuses on an accessible discussion of literary devices,
illustrated by selections that exemplify that element. These chapters conclude with
our new Writing Effectively sections, which help students to master the literary tool
discussed and to incorporate it into their own writing. Each part concludes with
chapters that encourage deeper analysis and evaluation, and a wide collection of
works for additional reading. This edition offers extensive coverage of writing both
throughout the text and within Part IV, which provides students with instruction on
the writing process and strategies for writing critically about literature.
Fiction
Over a third of the fiction writers listed as Representative Authors in the College
Board’s Guide to the AP* English Literature and Composition Course can be found
among the 46 short stories contained in this edition of Literature. Remaining selections are of equal quality and include contemporary pieces, a few previously neglected
classics, and a variety of both international and multicultural selections. Each reading
is prefaced with author photos and brief biographies that serve to contextualize and
humanize the authors for the students. After an introductory chapter, thematic chapters in the Fiction section include Point of View (Chapter 2), Character (Chapter 3),
*Advanced Placement Program, AP, and Pre-AP are registered trademarks of The College Board, which
li
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lii Using Literature in Your Pre-AP* or AP* Course
Setting (Chapter 4), Tone and Style (Chapter 5), Theme (Chapter 6), and Symbol
(Chapter 7). All selections in the thematic chapters are followed with questions that
encourage students to think critically about what they are reading and to recognize literary techniques in action.
The Fiction section also features two Critical Casebook chapters, which provide
students with material to explore works of fiction in greater depth. The Critical Casebook: Two Stories in Depth (Chapter 9), includes Edgar Allen Poe’s “The Tell-Tale
Heart,” and Charlotte Perkins Gilman’s “The Yellow Wallpaper.” The Critical Casebook: Flannery O’Connor (Chapter 8) looks at two of her most well-known stories:
“A Good Man Is Hard to Find” and “Revelation.” For each work, the Critical Casebooks include author biographies, reflections on writing by the authors themselves,
critical commentaries from multiple established literary critics, and Writing Effectively sections.
This edition maintains our coverage of popular fiction genres—a long-standing
interest of this anthology. The current edition contains classic examples of the
Gothic tale (Gilman, Poe), the adventure story (London), science fiction (Vonnegut), as well as magic realism (Garcia Marquez, Paz, Borges). These selections
combine with traditional realist and modernist stories to demonstrate the full range
of the short story’s possibilities.
Poetry
Literature proudly presents the most extensive and diverse selection of poems found
in any comparable book in the field. With over 360 poems, including 41 of the 50
representative poets on the College Board’s list, it would be an understatement to
call the fifth edition’s coverage of poetry abundant. The text integrates traditional favorites and new works throughout, including a diverse assortment of voices. Furthermore, we continue to include comic poems amid the lofty classics. Why? Students
love them, and a little lightness helps make poetry less intimidating.
When researching this edition’s coverage of AP* material, we heard from countless
teachers that poetry is particularly challenging for their students. Through its readable
discussions of poetry and poetic devices and its motivating selections, Literature makes
poetry interesting and accessible to teachers and students alike. Literature covers not
only types of poetry with sections on Lyric (383), Narrative (385), Dramatic (388),
Haiku (464), Closed Forms (548), and Open Forms (567); it also devotes sections to
specific tools of the poet, including Voice (Chapter 12), Word Choice (13), Denotation
and Connotation (14), Imagery (15), Figurative Speech (16), Sound (18), Rhythm
(19), Symbol (22), and Myth and Narrative (23). In addition to this coverage of standard poetic elements, Literature also includes exciting and innovative chapters, such as
Poetry and Personal Identity (24), Poetry in Spanish (25), Song (17), Recognizing Excellence (26), and What Is Poetry? (27). These unique chapters help students to connect poetry to their world. Furthermore, this edition continues our author-focused Critical Casebooks on the careers of Emily Dickinson (28) and Langston Hughes (28). New
to this edition, we have added a fascinating casebook on T. S. Elliot’s popular but challenging “The Love Song of J. Alfred Prufrock” (29). It includes interesting critical excerpts as well as early reviews of the poem, which will demonstrate to students the slowness and difficulty of building literary reputations.
Whether it is a music fan who shines during a discussion of Run DMC’s lyrics in
the Song chapter, a bilingual Spanish-English student who revels in his/her expertise
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Using Literature in Your Pre-AP* or AP* Course liii
in the Poetry in Spanish chapter, or maybe even simply a struggling student who
finally understands poetry after completing the Recognizing Excellence and What Is
Poetry chapters; this edition of Literature will bring poetry to life for every student.
Drama
This edition of Literature includes six of the playwrights listed on the College Board’s
list of Representative Dramatists, all of whom are represented by full-length plays.
Altogether, the drama section contains nine full length plays ranging from classical
tragedies by Sophocles (33); traditional favorites by Shakespeare (34), Tennessee
Williams (36), and Arthur Miller (36); up to contemporary works. Each play is accompanied by contextual and biographical information about the author and the
work.
The drama section contains two of our most detailed Critical Casebooks. The
Critical Casebooks on Sophocles (33) and Shakespeare (34) encourage students to
undertake an in-depth study of the authors and theater of their periods. Both Critical
Casebooks contain background information, full-length plays, and critical commentaries from a variety of sources. Shakespeare is covered in an exciting illustrated format, featuring dozens of striking production photos of major scenes. Reading Shakespeare can be intimidating to students who have never seen a live production of his
plays; and unfortunately, today most American teenagers have never seen any live
professional production of spoken drama—by Shakespeare or anyone else. This approach helps students visualize the action of major scenes and breaks up the long
blocks of print to make each play’s text less intimidating. For today’s visually oriented students, Literature’s new presentation of Shakespeare’s Othello should represent a breakthrough in accessibility.
A Multicultural Perspective
Advanced Placement* students should also be encouraged to broaden their perspectives through exposure to multicultural authors. Literature includes selections from
over 70 multicultural authors, including established favorites by authors such as
James Baldwin (2), Amy Tan (4), Zora Neale Hurston (10), Sandra Cisneros (10),
Rita Dove (15), and Rhina Espaillat (24), to name but a few. The College Board also
recommends exposure to international authors writing originally in English, which
are can be found throughout the fifth edition, notably with Chinua Achebe’s “Dead
Men’s Path” (6); Margaret Atwood’s “You Fit into Me” (16), and “Siren Song” (30);
Jamaica Kincaid’s “Girl” (10); and Derek Walcott’s “The Virgins” (30).
The College Board also encourages exposure to some works in translation. Literature incorporates a variety of translated works from myriad languages and cultures
including short stories such as Jorge Luis Borges’ “The Gospel According to Mark”
(10); Gabriel García Márquez’s “The Handsomest Drowned Man in the World” (10),
Octavio Paz’s, “My Life with the Wave” (10); poems such as Kobayashi Issa’s haiku
(15); and plays such as Henrik Ibsen’s A Doll’s House (35) and Sophocles’ Oedipus the
King (33).
Literature explores the issue of translated poetry in greater depth than any other
competing text on the market through its inclusion of an innovative bilingual chapter: Latin American Poetry (25). This important and unique chapter provides students the opportunity to experience poetry in a different language (as well as in
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liv Using Literature in Your Pre-AP* or AP* Course
translation) and to see how literature represents and illuminates a different cultural
experience. The chapter not only will broaden most students’ knowledge of world
poetry but also will help them to recognize the richness of Spanish-language poetry
in the literature of the Americas—a very relevant subject in today’s multicultural
classrooms. Furthermore, the bilingual selections will give your Spanish-speaking students a chance to shine in class.
Finally, the College Board recommends that through their AP* course, students
should gain an appreciation for the development of our literary history. While focusing
on the work of the sixteenth to twentieth centuries, Literature facilitates this exposure
through its inclusion of literature from across the spectrum of human creation from
works by ancient Greek, Chinese, and Persian authors to the works of today’s authors.
Many of the more historical pieces are accompanied by pedagogy to aid students in
comparing them to modern works.
Critical Reading Skills
It goes without saying that AP* students are expected to be well-read and that Literature provides the quantity of rich and appropriate choices needed to achieve this goal.
It is important, however, not only that students are exposed to a large quantity of respected literature, but also that they engage in quality readings of this literature. AP*
students read each work in depth and learn to respond, critically analyze, and evaluate
each work based not only on its execution of thematic and stylistic elements, but also
for its artistic and contextual values. One of the most direct ways that the fifth edition
encourages deep reading is through its aforementioned Critical Casebooks. These special chapters present a variety of material—biographies, photographs, critical commentaries, and statements by the authors. Our aim has been to provide everything a
student might need to begin an in-depth study of each author or work.
Literature also includes a chapter devoted to Critical Approaches to Literature
(43), which present overviews of 10 major critical schools and two selections to illustrate each—20 selections in all. The critical excerpts have been carefully chosen
both to demonstrate the major theoretical approaches and to be accessible to beginning students. The selections focus on literary works found in the text itself. Taken
together with the many commentaries in the casebooks and Writers on Writing, Literature now includes a total of 99 critical excerpts. This expanded coverage gives Literature both more depth and flexibility for instructors who prefer to incorporate literary theory and criticism into their courses.
The fifth edition also aids students in learning to evaluate literature. The Fiction, Poetry, and Drama sections each open with a chapter covering how to read
works from the genre. Furthermore, in the Poetry section, Chapter 26, Recognizing
Excellence (641), provides 13 poems chosen to illustrate distinctions between good
poetry and bad, and between good poetry and great. This extra emphasis on how to
evaluate poetry helps students to master this always challenging topic.
Finally, the comprehensive Glossary of Literary Terms at the end of this book
includes every term highlighted in boldface throughout the text as well as other important terms—over 350 entries in all—providing a clear and accurate definition,
usually with cross references to related terms. The purpose of the glossary is to provide students with a single accessible reference of all literary terms.
A necessary part of mastering critical reading skills is being able to express one’s
observations, interpretations, and arguments. To that end, classroom discussions and
writing assignments should be a fundamental part of the AP* course.
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Using Literature in Your Pre-AP* or AP* Course lv
Writing Skills
Writing skills are a fundamental part of the AP* course. Although it is undoubtedly
important for students to learn active reading skills, doing so is fruitless unless they are
able to coherently express their thoughts in writing. Writing instruction has always
been an important focus of this book. In this edition of Literature we have expanded
our critical writing coverage to include a new Writing Effectively section in every thematic chapter of Fiction, Poetry, and Drama that has four elements: Writers on Writing, which personalizes the composition process; Writing About ____, which discusses the specific topic of the chapter; a Writing Checklist, which provides a
step-by-step approach to composition and critical thinking; and a Writing Assignment plus More Topics for Writing, which provide a rich source of ideas for writing
papers. These features are designed to make the writing process easier, clearer, and less
intimidating.
The last section of the Literature, nearly 200 pages in length, provides comprehensive coverage of the composition and research process. The Writing section concisely presents introductions to the most common types of student writing assignments, paired with step-by-step instructions and examples drawn from actual student
papers. One of our chief aims has been to make the information and structure of the
writing chapters more visual for today’s Internet-oriented students. We have
reprinted and annotated 13 complete student papers as models for critical writing.
Eight of the papers are found in the final writing chapters, where they illustrate different approaches to critical writing—literary argument, explication, analysis, and
comparison—as well as a drama review. Five papers are found in earlier chapters on
Fiction, Poetry, and Drama. We also now show many samples of student work-inprogress as a way of illustrating the writing process. We include, for example, a stepby-step presentation of how students can develop topics, generate ideas, and formulate a strong thesis, and we show how an early draft is revised into a more precise final
version. We include sample brainstorming notes and other prewriting techniques,
among many other items, to provide students with a more helpful and systematic account of the writing process. We have also integrated the concept of developing a cogent literary argument (with attention to thesis, purpose, audience, support, and organization) throughout the writing chapters. Each student sample focuses on a work
or author in the book and often provides a close reading of the literary work that emphasizes specific elements of its structure and meaning.
Although the AP* exam focuses of critical analysis, students should be assigned
all types of writing to hone their critical reading and writing skills, giving them the
necessary practice to be able to express themselves clearly and thoughtfully. In addition to the above coverage, Literature includes a chapter on Writing a Research Paper
(41), which will help you to prepare and your students to tackle college-level assignments. Additionally, a chapter on Writing an Essay Exam chapter (42) should prove
indispensable for Advanced Placement* students preparing for the essay portion of
their AP* exam. Furthermore, there is an AP* exam test prep appendix at the back
of this text which contains information about the test, study tips, and a practice
exam with annotated answers.
For more information on the AP* English Literature and Composition course,
visit the College Board’s website at www.collegeboard.com.
2/26/09
3:27 PM
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