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LITERATUREITERATURE KENN.7938.Bkfm.I-Lii KENN.7938.Bkfm.I-Lii 2/13/12 12:31 PM Page Ii KENN.7938.Bkfm.I-Lii KENN.7938.Bkfm.I-Lii 2/13/12 12:31 PM Page Iii KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page i INSTRUCTOR’S MANUAL TO ACCOMPANY LLITERATUREITERATURE KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page ii KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page iii INSTRUCTOR’S MANUAL TO ACCOMPANY LLITERATUREITERATURE An Introduction to Fiction, Poetry, Drama, and Writing TWELFTH EDITION X. J. Kennedy Dorothy M. Kennedy Dana Gioia University of Southern California with Michael Palma Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page iv ACKNOWLEDGEMENTS “Buck It” by Jerald Bullis. Reprinted by permission of the author. “Introduction to Poetry” from The Apple That Astonished Paris, poems by Billy Collins. Copyright © 1988 by Billy Collins. Reprinted by permission of The University of Arkansas Press. “Women at Fifty” by Andrea Hollander Budy, from House Without a Dreamer. Copyright © 1993 by Andrea Hollander Budy. Reprinted by permission of the author. “Introduction to Poetry” from Another Kind of Travel, poems by Paul Lake. Copyright © 1988 by Paul Lake. Reprinted by permission of the author. Vice President and Editor-in-Chief: Joseph P. Terry Executive Marketing Manager: Joyce Nilsen Senior Supplements Editor: Donna Campion Electronic Page Makeup: Grapevine Publishing Services, Inc. Instructor’s Manual to Accompany Literature: An Introduction to Fiction, Poetry, Drama, and Writing, Twelfth Edition. Copyright © 2013, 2010 by X. J. Kennedy, Dorothy M. Kennedy, and Dana Gioia All rights reserved. Printed in the United States of America. Instructors may repro- duce portions of this book for classroom use only. All other reproductions are strictly prohibited without prior permission of the publisher, except in the case of brief quotations embodied in critical articles and reviews. 1 2 3 4 5 6 7 8 9 10–DOC–14 13 12 11 ISBN 10: 0-205-24793-8 www.pearsonhighered.com ISBN 13: 978-0-205-24793-6 KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page v CONTENTS Preface xi Guide to MyLiteratureLab xvii Author Index: MyLiteratureLab Resources xxiv Chapter Guide: MyLiteratureLab Resources xxix FICTION Stories Arranged by Type and Element 3 Stories Arranged by Subject and Theme 9 Stories Students Like Most 17 1 Reading a Story 19 TYPES OF SHORT FICTION 19 PLOT 22 THE SHORT STORY 22 2 Point of View 27 3 Character 43 4 Setting 55 5 Tone and Style 65 IRONY 70 6 Theme 75 7 Symbol 86 8 Reading Long Stories and Novels 100 9 Latin American Fiction 110 Copyright © 2013, 2010 by X. J. Kennedy, Dorothy M. Kennedy, and Dana Gioia v KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page vi vi Contents 10 Two Critical Casebooks: Edgar Allan Poe and Flannery O’Connor 120 EDGAR ALLAN POE’S FICTION 120 EDGAR ALLAN POE ON WRITING 126 CRITICS ON EDGAR ALLAN POE 128 FLANNERY O’CONNOR’S FICTION 128 FLANNERY O’CONNOR ON WRITING 142 CRITICS ON FLANNERY O’CONNOR 144 11 Critical Casebook: Two Stories in Depth 145 THE YELLOW WALLPAPER 145 CHARLOTTE PERKINS GILMAN ON WRITING 150 CRITICS ON “THE YELLOW WALLPAPER” 151 EVERYDAY USE 151 ALICE WALKER ON WRITING 155 CRITICS ON “EVERYDAY USE” 156 12 Stories for Further Reading 157 POETRY Poems Arranged by Subject and Theme 199 Poems for Further Reading, Arranged by Elements 217 Poems Students Like Most 223 13 Reading a Poem 225 LYRIC POETRY 225 NARRATIVE POETRY 228 DRAMATIC POETRY 230 14 Listening to a Voice 232 TONE 232 THE PERSON IN THE POEM 237 IRONY 241 15 Words 249 LITERAL MEANING: WHAT A POEM SAYS FIRST 249 THE VALUE OF A DICTIONARY 251 WORD CHOICE AND WORD ORDER 254 Copyright © 2013, 2010 by X. J. Kennedy, Dorothy M. Kennedy, and Dana Gioia KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page vii Contents vii 16 Saying and Suggesting 259 DENOTATION AND CONNOTATION 259 17 Imagery 266 ABOUT HAIKU 270 18 Figures of Speech 276 WHY SPEAK FIGURATIVELY? 276 METAPHOR AND SIMILE 277 OTHER FIGURES OF SPEECH 280 19 Song 287 SINGING AND SAYING 287 BALLADS 289 BLUES 290 20 Sound 293 SOUND AS MEANING 293 ALLITERATION AND ASSONANCE 295 RIME 295 READING AND HEARING POEMS ALOUD 298 21 Rhythm 301 STRESSES AND PAUSES 301 METER 304 22 Closed Form 306 THE SONNET 308 THE EPIGRAM 312 OTHER FORMS 313 23 Open Form 317 PROSE POETRY 320 VISUAL POETRY 322 24 Symbol 328 25 Myth and Narrative 338 ARCHETYPE 340 PERSONAL MYTH 341 MYTH AND POPULAR CULTURE 342 Copyright © 2013, 2010 by X. J. Kennedy, Dorothy M. Kennedy, and Dana Gioia KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page viii viii Contents 26 Poetry and Personal Identity 346 CULTURE, RACE, AND ETHNICITY 347 GENDER 350 27 Translation 356 IS POETIC TRANSLATION POSSIBLE? 356 WORLD POETRY 356 COMPARING TRANSLATIONS 357 PARODY 358 28 Poetry in Spanish: Literature of Latin America 362 SURREALISM IN LATIN AMERICAN POETRY 364 CONTEMPORARY MEXICAN POETRY 364 29 Recognizing Excellence 366 30 What Is Poetry? 378 31 Two Critical Casebooks: Emily Dickinson and Langston Hughes 379 EMILY DICKINSON’S POETRY 379 EMILY DICKINSON ON EMILY DICKINSON 386 CRITICS ON EMILY DICKINSON 387 LANGSTON HUGHES’S POETRY 387 LANGSTON HUGHES ON LANGSTON HUGHES 392 CRITICS ON LANGSTON HUGHES 392 32 Critical Casebook: T. S. Eliot’s “The Love Song of J. Alfred Prufrock” 393 PUBLISHING “PRUFROCK” 395 THE REVIEWERS ON PRUFROCK 395 T. S. ELIOT ON WRITING 396 CRITICS ON “PRUFROCK” 397 33 Poems for Further Reading 399 Envoi 460 DRAMA 34 Reading a Play 463 35 Modes of Drama: Tragedy and Comedy 468 TRAGEDY 468 COMEDY 469 Copyright © 2013, 2010 by X. J. Kennedy, Dorothy M. Kennedy, and Dana Gioia KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page ix Contents ix 36 Critical Casebook: Sophocles 473 OEDIPUS THE KING 473 ANTIGONÊ 475 CRITICS ON SOPHOCLES 478 37 Critical Casebook: Shakespeare 480 OTHELLO, THE MOOR OF VENICE 480 HAMLET, PRINCE OF DENMARK 490 A MIDSUMMER NIGHT’S DREAM 494 CRITICS ON SHAKESPEARE 502 38 The Modern Theater 506 39 Evaluating a Play 517 40 Plays for Further Reading 518 WRITING 41 Writing About Literature 535 42 Writing About a Story 537 43 Writing About a Poem 539 44 Writing About a Play 542 45 Writing a Research Paper 543 46 Writing as Discovery: Keeping a Journal 545 47 Writing an Essay Exam 546 48 Critical Approaches to Literature 548 Appendix 1: Teaching Creative Writing 551 WRITING A POEM (SOME NOTES BY XJK) 551 CREATIVE WRITING RESOURCES IN LITERATURE 553 Appendix 2: Notes on Teaching Poetry by XJK 555 Appendix 3: Integrating Poetry and Composition 557 Index of Authors with Titles 561 Copyright © 2013, 2010 by X. J. Kennedy, Dorothy M. Kennedy, and Dana Gioia KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page x KENN.7938.bkfm.i-lii_KENN.7938.bkfm.i-lii 2/13/12 12:31 PM Page xi PREFACE We’ve always found, before teaching a knotty piece of literature, that no prepara- tion is more helpful than to sit down and discuss it with a colleague or two. If this manual supplies you with such a colleague at inconvenient hours, such as 2:00 A.M., when there’s no one in the faculty coffee room, it will be doing its job. This manual tries to provide exactly that sort of collegial conversation—spirited but specific, informal but informed. We offer you a sheaf of diverse notes to supply— if you want them—classroom strategies, critical comments, biographical information, historical context, and a few homemade opinions. These last may be wrong, but we set them down to give you something clear-cut with which to agree or disagree. Candor, we think, helps to enliven any conversation. The manual includes: • Commentary on every story, poem, and play presented in the text, except for a few brief poems quoted in the text as illustrations; • Additional classroom questions and discussion strategies; • Thematic Indices at the beginning of the “Fiction” and “Poetry” sections. PLAN OF THE BOOK There is a plan to Literature, but the book does not oblige you to follow it. Chapters may be taken up in any sequence; some instructors like to intersperse poetry and plays with stories. Some may wish to teach Chapter 25 on “Myth and Narrative” immediately before teaching Oedipus the King. Many find that “Imagery” is a useful chapter with which to begin teaching poetry. Instructors who prefer to organize the course by theme will want to consult the detailed thematic indices. If, because you skip around in the book, students encounter a term unknown to them, let them look it up in the Index of Terms. They will be directed to the page where it first occurs and where it will be defined and illustrated. Or have them look it up in the Glossary of Literary Terms at the back of the book. In the poetry chapters, the sections titled “For Review and Further Study” do not review the whole book up to that moment; they review only the main points of the chapter. Most of these sections contain some poems that are a little more difficult than those in the body of that chapter.
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