sign in sign up
<<
Home , Richard Wilbur, Robert Duncan (poet)

The Literary Experience

Bruce Beiderwell University of California, Los Angeles

Jeffrey M. Wheeler Long Beach City College

THOMSON * WADSWORTH Australia • Brazjj •• Canada1 •;. Mexico • Singapore Spain ••!United Kingdom.-*, United States Brief Contents

Introduction to the Elements of Literature xxxiii How Do We Know What Terms to Use When We Talk about Our Experiences with Literature?

1 | Scene, Episode, and Plot 1 What Happened, and Why Do We Care? -

2 | Character 115 Who Is Involved, and Why Does. It Matter?

3 "("Theme 195 What Does This Text Mean? Is There One Right Way to Read This Text?

4~T Point oi View 282 How Do We Know What We Know about What Happened?

5 | Setting 399 Where and When Does This Action Take Place? Why Does It Make a Difference?

6 j Rhythm, Pace, and Rhyme 508 How Do Sounds Move?

7. |"Images 630 , • How Do We Experience Sensations in a Written Text?

8 | Coherence 713 Is There a Pattern Here? •• • , ••..-• How Does This Fit Together? • ' '

in iv Brief Contents

9 | Interruption 787 Where Did That Come From? Why Is This Here?

10 | Tone 1006 Did I Hear That Right?

11 | Word Choice 1077 Why This Word and Not Another?

12 | Allegory 1194 Is This Supposed to Mean Something Else, Too?

13 | Symbolism 1252 How Do I Know When an Event or an Image Is Supposed to Stand for Something Eke?

14 | Context 1392 What Outside Information Do We Really Need'to Know to Understand the Text?

15 | Allusions 1474 In Order to Understand This Text, Is There Something Else That I Am Supposed to Have Read?

161 Genre 1582 Houi Do Our Expectations Impact Our Literary Experience? How Are Those Expectations Formed? . ;

17 | The Production and Reproduction of Texts 1674 How Does Retelling and Revising Impact My Experience of a Text? How Can Literary Theory Clarify What Constitutes That Experience?

18 | An Orientation to Research 1695 Why Should I Use Sources? . • - How Do We Find Them? What Material Do I Document? Contents

Preface • xxv •> ••"' /

Introduction to the Elements of Literature' xxxiii How Do We Know What Terms to Use When We Talk about Our Experience with Literature? , .,-.''

Developing a Flexible Critical Vocabulary -: xxxiv ( Critical Writing as Conversation xxxv Critical Writing as an Extension of Reading xxxvii ., ,, Langston Hughes, Harlem •[poem] xxxyii . ,

1 | Scene, Episode, and'Plot < * ••<••••• What Happened, and Why Do We Care? 1 •••• • Edouard Boubat, Rendez-vous at the Cafe La Vache Noire [image] Incident, Scene, and Sequence 2 Experiencing Literature through Plot ,3 Robert Piiislcy, Poem with Lines in Any Drder fgoemj 4 Wislawa Szymborska, ABC [poem] ' D" "" '.''['

Episode, Impression, and Fragment' &,,' ,,, fr .-; Claude Monet, Portal, of Rouen Cathedral in Morning „. Light [image] 7 ,, „ , , Experiencing Literature through Impression and Episode 7 Stephen Crane, An Episode of War [fiction] ' g '°'r '

Tension, Release, and Resolution,.. Ji1 ; (/i .. • , ,,.',

Multiple and Reflexive Plots.;; 13 ,•' - • H •-. •>,'••' Memento [film] 14 - ...-.,. •. • • A NOTE TG STUDENT- WRITERS: Critical Reading and Understanding lfl

Marge Piercy, Unlearning to not speak [poem] ; 15 :; Modeling \Cr.itical. Analysis:.Jamaica Kincaid,, Girl [fiction] . .16 Jamaica Kincaid, Girl [fiction] 16 vi Contents

Anthology

Detective Work: Figuring Plot 18 FICTION Arthur Conan Doyle, A Scandal in Bohemia 20 Don Lee, The Price of Eggs in China 39 Emily Dickinson, [A Route of Evanescence] 59 Emily Dickinson, [I like to see it lap the Miles—] 60 E. A. Robinson, Richard Cory 60 , Stopping by Woods on a Snowy Evening ,61 , Traveling through the Dark 62 Kevin Young, The Set-up 62 , Kevin Young, The Chase 64 • . Aron Keesbury, On the Robbery across the Street 65 Muriel Rukeyser, Myth- 66 -- - DRAMA Sophocles, Oedipus the King 67 :

2 | Character Who Is Involved, and Why Does If Matter? 115 " '•

Building Character 116 Experiencing Literature through Character 117 Michael Chabon, from The Amazing Adventures of Kavalier & • Clay [fiction] 117 . . .-.•.••." Presenting Character 120 A NOTE TO STUDENT WRITERS: Leading Questions 121 Picturing Character 121 , . , Experiencing Film and Literature through Character 122 Gone with the Wind [film] 123 [' Hattie McDaniel accepting her Academy Award at the Coconut Grove [image] 124 , Hattie McDaniel Arrives at the Coconut Grove [poem] 124 ' Feeling for Character 126 , Experiencing Literature through Character 126 Cathy Song, Picture Bride [poem]' ill , Those Winter Sundays [poem] 128 : , Character and Function 129 ., • . • Judith Ortiz Cofer, My Father in the Navy: A Childhood Memory [poem] 130 • • "' Modeling Critical Analysis: Jamaica Kincaid, Girl [fiction] 131 ,.'.,', ' ' Contents vii

Anthology

Powers Plays: Characterizing Relationships 132 FICTION , Alice Munro, How I Met My Husband 134 Luigi Pirandello, The Soft Touch of Grass 148 Alice Walker, Everyday Use 152 POETRY Edgar Lee Masters, Elsa Wertman 160 Edgar Lee Masters, Hamilton Greene 161 Robert Frost, Home Burial 161 , Now That I Am Forever with Child 165 • Eavan Bbland, The Pomegranate 165 , Daddy 167 ; , Poem for My Father ' 170 Kitty Tsui, A Chinese Banquet 171 , Lanyard -'"173 ' -•• '• • . • --• ' E. A. Robinson, The Mill 174 Liz Rosenberg, 1:53 A.M. 175li' < '.''•.>:• . •/.• , Sadie and Maud 176 •••••'•• • Seamus Heaney, Mid-Term Break 176 y Michael Lassell, How to Watch Your Brother Die -177 . ; Adrienne Rich, Aunt Jennifer's Tigers 180 ~ ' - GarySoto, Black Hair 181 , DRAMA Anton Chekhov, The Proposal: A Jest in One Act 182

3 | Theme , What Does This Text Mean? -j5 There One Right Way to Read This Text? 195 Theme and Thesis ,196 .;•:.-...... : ./••... : -• • Theme and Moral 197 ' b: '• ' Charles Perrault, Little Red Riding Hood [fiction] 198 . James Thurber, The Girl and the 'Wolf [fiction] '201 (Calviri''Coolidgel[!mage] 201" ! ' MGM Lion [image] 201 -SiGirl'.Devoured by Wolf [fiction] -202 S^Experiencing.Literature tthrough'JTheme: 202 <*•: • '. •<-' Marge Piercy, A Work of Artifice [poem] 203 , Multiple Themes in a Single Work ;204 •• , <* • • Experiencing;Literature through Theme,• ,'205 . • . ,...'.. Maxine Hong Kingston, The Wild Man of theGreen >;- Swamp [fiction]''- 205-J \ •.. . •-, .•.••••••• , • .. viii Contents

When the Message Is Unwanted 208 Triumph of the Will [film] 209 A NOTE TO STUDENT WRITERS: Discovering What You Want to Say 210

Modeling Critical Analysis: Jamaica Kincaid, Girl [fiction] 211

Anthology Exploring Boundaries: Interpreting Theme 213 FICTION Luisa Valenzuela, The Censors 214 Flannery O'Connor, A Good Man Is Hard To Find 217 POETRY John Keats, La Belle Dame sans Merci: A Ballad 230 Edna St. Vincent Millay, [Women have loved before as I love now] 232 , Casabianca 232 Ted Hughes, Lovesong 233 Carolyn Forche, The Colonel 234 William Butler Yeats, Leda and the Swan 235 D. H. Lawrence, Snake 236 Richard Wilbur, A Fable 238 Linda Pastan, Ethics 239 DRAMA Christopher Marlowe, Doctor Faustus' 240

4 | Point of View How Do We Know What We Know about What Happened? 282 ..-• > "'; ••'•

Perspective 282 - Albrecht Diirer, Working on Perspective [image] . 283 Masaccio, Trinity [image] 284 Plan and elevation of Masaccio's Trinity [image] 285 • - Dorothy Parker, Penelope [poem] , 285 . . A NOTE TO STUDENT WRITERS: Distinguishing Author from Speaker • 286

The Narrative Eye 286 >.-.' ; r,.:.-.. :; •;]•.. ., Caspar David Friedrich, Wanderer above the,Sea of Fog [image] >287 Caspar David Friedrich, Woman in fthe Morning Light [image] ., 287 Reliable and Unreliable Narrators r 288 -' " .-';•• -a- .••• Third-Person Narrators 288 !L • ' - •< " - Charles Dickens, from A Christmas Carol [fiction] ; 288 • First-Person Narrators 290 .,; >••: • i Experiencing Literature through Point of View - 291 ... •• ;".. .••. Wendell Berry, The Vacation [poem] 291 Contents ix

Film Focus and Angles 292 The Magnicent Ambersons [film] 293 Citizen Kane [film] 293 Trapped -[film] 294 Nosferatu [film] 294 Henry Taylor, After a Movie [poem] 295 Experiencing Film through Point of View 296 Rear Window [film] 297 Shifting Perspectives 298 Stevie Smith, Not Waving but Drowning [poem] 299 Experiencing Literature through Perspective 300 Charles Sheeler, River Rouge Plant Stamping Press [image] 300 , Photography.2.[poem] 300 Frank X. Gaspar, It Is the Nature of the Wing [poem] 302 Modeling Critical Analysis: Robert Browning, <••' • •, My Last Duchess [poem] 303 -

Robert Browning, My Last Duchess [poem] 303

Anthology Trust and Doubt: A Matter of Point of View 306 FICTION Ann Beattie, Janus 306 Kate Chopin, The Story of an Hour 311 Charlotte Perkins Gilman,' The Yellow Wallpaper 314 POETRY Helane Levine Keating, My Last Duke 327 , This Is Ju?t to Say,. 328 . Erica-Lynn Gambino,, This Is Just to Say 329 Elizabeth Bishop, The Fish 330 Edna St. Vincent Millay, Childhood Is the Kingdom Where Nobody Dies 332 ' , Prodigy 333 John Donne, The Good-Morrow 334 Adrienne Rich, Living in Sin 335 W. S. Merwin, Separation 336 H. D. Helen 336 Sylvia Plath, The Applicant 337 Sylvia Plath, Mirror 338..,' Robert Morgan, Working in the Rain 339

DRAMA William Shakespeare, Much Ado about Nothing t v-340 x Contents

5 | Setting • •'•.. ZUyf't ff-'R Where and When Does This Action Take Place? : ?.K*^ '•>.-• i. Why Does it Make a Difference? 399 ' • :>i <"KLir-) Place and Time 399 . .' .^i-.H Greetings from Fargo postcard, [image], 400 , . • ;nzH A NOTE TO STUDENT WRITERS: Descriptive .Summaries 401- -..h?4y.3.

Experiencing Literature through Setting 401 ;: . .,, ; H , February Evening in [poem] 4,02. ^p Theodore Dreiser, from Sister Carrie [fiction] 403 ... •, _^. Department store interior [image], r, 404, . •xiy-i i The Role of Physical Objects-.r;4d5--4ij. ••', 'j Kazuo Ishiguro, from Remains_of; the ^Dayif/iction] .405 'i '-';. Imaginary Places '-408 ;; :- -"' :"'![ '•"" '•' ' ' Experiencing Film through- Setting'..; .. 109;;,; ,, ;• :.;i0!V'

Amelie [film] 410 %[• ..,-,., • • ,}J, Babe: Pig in the. City [film]\ i;Alhtl •,. '- ... ••',- •-.%••' A NOTE TO STUDENT WRITERS: Paying Attention to Details 4J2 Modeling Critical Analysis: Robert Browning, •.• -''.in My Last Duchess [poem] 412

Anthology From Gothic Space to Recognizable Place: Creating Setting 414 Giovanni Piranesi, from Imaginary 'Prisons [image] 414 1T '"' FICTION James Joyce, Araby 415 Edgar Allan Poe, The Fall of the House of Usher 420 POETRY Samuel Taylor Coleridge, Kubla Khan: or, a Vision in a Dream 436 Edgar Allan Poe, The Raven 437 Christina Rossetti, Cobwebs 440 Oscar Wilde, The Harlot's House ,441 Dudley Randall, Ballad of Birmingham 442 , New Orleans 444 Joy Harjo, The Woman Hanging from the Thirteenth Floor Window 446 GarySoto, Braly Street 448 ; ' , Kearney Park 450 , Ginger Andrews, Rolls-Royce Dreams 451 Barbara Ras, Childhood 452 ' Chitra Banerjee Divakaruni, Indian Movie, New Jersey 453 B. H. Fairchild, The Dumlca 454 DRAMA Tennessee Williams, The Glass Menagerie 455 Contents xi

| Rhythm, Pace, and Rhyme How Do Sounds Move? 508

Filmic Rhythm 509 Experiencing Film through Rhythm 510 Jaws [film] 510 Poetic Rhythm 511 Experiencing Literature through Rhythm 513 Herman Melville, The Maldive Shark [poem] 514 William Blake, Nurse's Song [poem] 514 The Rhythm of Pauses 517 Experiencing Literature through Rhythm 517 Samuel Johnson, On the Death of Dr. Robert Levet [poem] 518 Ben Jonson, On My First Son [poem] 520 A NOTE TO STUDENT WRITERS: Commanding Attention 520 The Rhythm of Sounds 521 Experiencing Literature through Rhythm and Rhyme 522 , The Death of the Ball Turret Gunner [poem] 523 Robert Frost, Fire and Ice [poem] 524 Modeling Critical Analysis: Robert Browning, My Last Duchess [poem] 524

Anthology

Innocence and Experience: Rhythm and Meaning 525 FICTION James Baldwin, Sonny's Blues 527 Ursula K. Le Guin, The Ones Who Walk Away from Omelas 553 Susan Minot, Lust 559 POETRY William Blake, The Lamb 567 William Blake, The Chimney Sweeper (Innocence) 568 William Blake, Holy Thursday (Innocence) 569 William Blake, The Tyger 569 William Blake, The Chimney Sweeper (Experience) 570 William Blake, Holy Thursday (Experience) 570 , My Papa's Waltz 571 Theodore Roethke, The Waking 572 Langston Hughes, Dream Boogie 573 Langston Hughes, The Negro Speaks of Rivers 573 Gwendolyn Brooks, We Real Cool 574 Countee Cullen, Incident 575 Denise Levertov, In Mind 575 Sharon Olds, I Go Back to May 1937 576 Sharon Olds, The Death of Marilyn Monroe 577 DRAMA Suzan-Lori Parks, Topdog/Underdog 578 xii Contents

7 | Images . How Do We Experience Sensations in a Written Text? 630

Creating Pictures with Words 631 William Carlos Williams, The Red Wheelbarrow [poem] 631 Czeslaw Milosz, Watering Can [poem] 632 : •';.-. Sailboat [image] 633 Georges Seurat, Entrance to the Harbor [image] 633 Experiencing Literature through Imagery 634 Wislawa Szymborska, The Courtesy of the Blind [poem] 634 Registering Taste and Smell 636 Sideways [film] 636 . Experiencing Literature through Images 637 Salman Rushdie, On Leavened Bread [prose] .637 Nun with Bread [image] 638 Interaction of the Senses 639

John Milton, from Paradise Lost [poem] 640 , >; ,, /

Gangs of New York f/ilm] • 642 ,: . . , ' •';• ., : , Lost in Translation [film] 642 . .,•.-, Experiencing Literature through Images 643 Richard Wilbur, A Fire-Truck [poem] 643 Interaction of Words and Pictures 645 Michael Ondaatje, King Kong Meets [poem] 645 Wallace Stevens [image] 646 King Kong [film] 647 Experiencing Literature through Images 647 Yosa Buson, Hokku Poems in Four Seasons [poem] 648 A NOTE TO STUDENT WRITERS: Using Specific Detail 652 Modeling Critical Analysis: T. S. Eliot, The Love Song of J. Alfred Prufrock [poem] 652 • '

T. S. Eliot, The Love Song of J. Alfred Prufrock [poem] 653

Anthology Home and Away: Personalizing.Images 657 FICTION Alice Munro, Boys and Girls 659 Haruki Murakami, UFO in Kushiro 671 POETRY William Blake, London 684 William Wordsworth, London, 1802 684 William Wordsworth, Composed upon Westminster Bridge, September 3, 1802 685 ' .. .," . Contents xiii

William Wordsworth, The World Is Too Much with Us,, ,; 686.,, William Wordsworth, [I wandered lonely as a cloud] 686 Emily Dickinson, [There's a certain Slant of light] 687 Robert Frost, Birches ( 688 Robert Frost, Acquainted with the Night 689 , , In a Station of the Metro 690 . .. Wallace Stevens, The Snow Man 690 . . Wallace Stevens, Thirteen Ways of Looking at a Blackbird 691 e. e. cummings, in Just- 693 Maya Angelou, Harlem Hopscotch 694 Richard Wilbur, April 5, 1974 695 , Spring 695 Mary Oliver, Ghosts 697 Derek Walcott, Dry Season 699 DRAMA Susan Glaspell, Trifles 699

| Coherence Is There a Pattern Here? How Does This Fit Together? 713 Nick Hornby, from High Fidelity [fiction] 713 High Fidelity [film] 714 Design and Shape 715 George Herbert, Easter Wings [poem] 716 Thomas Hardy, The Convergence of the Twain [poem] 717 Traditional Structures 718 chart [image] 720 Experiencing Literature through Form 721- William Wordsworth, Nuns Fret Not [poem] 722 Edna St. Vincent Millay, I, Being Born a Woman and Distressed [poem] 722 Robert Frost, Design [poem] 723 Dylan Thomas, Do Not Go Gentle into That Good Night [poem] 724 A NOTE TO STUDENT WRITERS: Complicating a Thesis 725 Coherence without Traditional or Fixed Structure 726 Philip Levine, The Simple Truth [poem] 726 Modeling Critical Analysis: T. S. Eliot, The Love Song of J. Alfred Prufrock [poem] 729 xiv Contents

Anthology !

Rituals and Routines:.Structuring for Coherence 730 FICTION Charles W.Chesnutt, Wife of His Youth 733 John Updike, A&P 742 Jonathan Safran Foer, The Very Rigid Search 748 POETRY. , William Cullen Bryant, To Cole, the Painter, ' Departing for Europe 769 Joe Kane, The Boy Who Nearly Won the Art Competition 769 Elizabeth Bishop, Manners for a Child of 1918 770 Phillis Wheatley, On Being Brought from Africa to America 771 Robert Frost, The Road Not Taken 772 Thomas Lux, The Swimming Pool 773 , Constantly risking absurdity 774 , Supermarket in California 775 Richard Wilbur, A Sketch 776 Miller Williams, Thinking about Bill, Dead of AIDS 777 DRAMA David Ives, Sure Thing 778

| Interruption Where Did That Come From? Why Is This Here? 7,87 .

Interrupting the FictionarFrame 787 The Princess Bride [film] 788 Experiencing Literature through Interruption 789 Douglas Adams, from The Hitchhiker's Guide to the Galaxy [fiction] 790 .. Structural Interruptions 792 William Butler Yeats, The Folly of Being Comforted [poem] 792 Mary Oliver, Bone Poem [poem] 793 Experiencing Fi!m through Interruption 794 Pulp Fiction [film] 795 Juxtaposition 795 Margaret Bourke-White, At the Time of the Louisville Flood [image] 796 Experiencing Literature through Juxtaposition 797 , Tattoo [poem] 798 Contents xv

Montage 798 Experiencing Film through Juxtaposition 799' Roger and Me [film] ;-800 ' l A NOTE TO STUDENT WRITERS: Making Comparisons Relevant, 801 Modeling Critical Analysis:!T. S. Eliot, The Love Song of J. Alfred Prufrock [poem] 802

Anthology

Framing, Mapping, and Exploration: Placing Interruption 805 FICTION Jorges Luis Borges, The Garden of Forking Paths 806 Joseph Conrad, The Secret Sharer 814 EudoraWelty, A Worn Path 847 Raymond Carver, Cathedral 854 L POETRY Elizabeth Bishop, Brazil, January, 1502 ,,867- •». • , Cartography 868 ; :•: , , :, Sharon,Olds, Topography 869 Langston Hughes, Theme for English B 870 Laura Riding, The Map,of Places 871 Richard Wilbur, Worlds 871 Samuel Taylor Coleridge, The Rime of the Ancient Mariner 872 Alfred, Lord Tennyson, Ulysses 890 Emily Dickinson, [The Brain—is wider than the Sky—] 892 Emily Dickinson, [I never saw a Moor—] 893. Emily Dickinson; [Tell all the Truth but tell it slant—] , 893 Emily Dickinson, [To make a prairie it takes a clover and one bee] 893 John Donne, The Sun Rising 894 John Donne, A Valediction: Forbidding Mourning 895 DRAMA William Shakespeare, Hamlet 896

10| Tone Did I Hear That Right? 1006

Hearing Right 1007 Margaret Atwood, you fit into me [poem] 1007 i '' Experiencing Literature through Tone • 1008 IJ Dorothy Parker, One Perfect Rose [pbemj 1008 -•' Dorothy Parker, Thought for a Sunshiny Morning [poem] 1009 y> John Donne, The Flea [poem] 1009 Mixing and Balancing Opposing Tones 1010 Ted Kooser, A Letter from Aunt Belle [poem] 1011 Experiencing Literature through Tone 1012 Zora Neale Hurston, from Mules and Men [fiction] 1013 xvi Contents

Irony and Introspection 1015 ,. sos;.! '••• Margaret Atwood, Siren Song [poem] 1015: ...•:• \ •>'•-*"*'•'•" ""-i*-1 Chinua Achebe, Dead Men's Path [fiction] 1016 . ' \ ;%<>?. Czeslaw Milosz, If There Is No GddfpoemJ ' 1019 ' • ;, ow ,\

A NOTE TO STUDENT WRITERS: Signaling Your Own Understanding ; -,< ,,;\/i of Tonal Shifts 1020 . . ' \ •'''•"•>, T'"' . ' • '•.-.• :• '"r . '< !i:.;Mi,-\ .' Modeling Critical Analysis: Joel Coen and Ethan Coen, 0 Brother, Where Art Thou? [film] 1020 ^nlo^-r? Margaret Bourke-White, Guard with a shotgun [image] 1021 O Brother, Where Art Thou? [film]' 1022 ' ; : ,.;^C;jf:.v! .iX.fnBT

Anthology . , .^JS^C; Caught Between Laughter and Tears: Considering Tone in Analysis ^023 FICTION Katherine Mansfield, A Dill Pickle 1025 • . . ;-£.;rJ!5 var:.. Herman Melville, Bartleby, the Scrivener :*) 1031;c£ sJzicl POETRY Billy Collins, I Chop Some Parsley While Listening'to Art'Blakey's Version of "three Blind Mice" 1060 <"^ • ; .rsoiv^sJ W. H. Auden, Musee des Beaux Arts1 1062 ' ' -; ' • "^"J- Elizabeth Bishop, One Art 1062 '"•'•' •"-: ' • • J* :i~:r:!® Quincy Troupe, -Untitled 1063 ' , "; '.;Tfr' , Defending ' 1064 -A Ted Kooser, A'Hairnet with Stars "1066 ;' J- •' -:1- -- , A Break from the Bush 1067 > 7-jrr»- , Not Only the Eskimos -1 -1068 • i- ^-; Vu«I- DRAMA Christopher Durang and Wendy'Was'sersteih','1 Medea ^1070

f 111 Word Choice ., Why This Word and Not Another? 1077 '

Precision and Playfulness 1078 _,, ,nf Erasmus, from De Duplici Copia Verborum et Rerum [poem] ^ 1079 " Experiencing Film and Literature through Diction J080 Moulin Rouge [film] 1081 ,,

Beyond Summary 1083 „, ; ., , . ... William Shakespeare, (From fairest creatures we desire increase; When forty winters shall beseige thy brow; Look in thy'glass, and tell the face thou viewest; Lo! in the orient when the gracious light; Music to hear, why hear'st thou music sadly?;; Is it for fear to wet a widow's eye; Shall I compare thee to a summer's day?) [poems] 1084-1088 A NOTE TO STUDENT WRITERS: On the Paraphrase 1088 Contents xvii

Definition and Usage 1089 .,, Billy Collins, Thesaurus [poem] . 1089 Oxford English Dictionary, Love [prose] 1090 Experiencing Literature through Word Choice 1092 Robert Sward, For Gloria on Her 60th Birthday, or Looking for Love in Merriam-Webster [poem] 1092 Critically Reflecting on Words 1093 Lewis Shiner, from The Turkey City Lexicon: A Primer for Science Fiction Workshops 1093 Bulwer-Lytton Contest Winners 1094 Modeling Critical..Analysis: Joel Coen and Ethan Coen, 0 Brother Where Art Thou? [film] 1095 Anthology 7

Romantic Love: Expressing the Exact Emotion '1097 T '": FICTION Raymond Carver, What We Talk about When We Talk about Love 1098 Edith Wharton, Roman Fever 1108 POETRY Anonymous, My Love in Her Attire 1119 John Donne, Elegy 19: To His Mistress Going to Bed 1119 John Fletcher, [Take, oh take those, lips away] 1121 Anonymous, Western Wind 1121 Henry Howard, Eai-1 of Surrey, [Love that doth reign and live within my thought] 1122 Thomas Wyatt, [The long love that in my heart doth harbor] 1122 e. e. cummings, Spring is like a perhaps hand 1123 e. e. cummings, since feeling is first 1124 Emily Dickinson, [Wild Nights—Wild Nights!] 1124 , Shelley 1125 ; . Robert Burns, A Red,. Red Rose 1126 Edna St. Vincent.Millay, What Lips My Lips Have Kissed 1127 Denise Levertov, The Ache of Marriage 1127 Denise Levertov,: Divorcing 1128 . • Christopher Marlowe, The Passionate Shepherd) to His Love 1128 Sir Walter Ralegh, The Nymph's Reply to, the Shepherd 1129 Andrew Marvell,^ To His Coy Mistress 1130 •:<.. .; Elizabeth Barrett.Browning, [How do I: love thee? Let me count the ways.] 1131 , - • • : . Elizabeth Barrett Browning, [When our two souls stand up] 1132 Robert Brownings Meeting at Night 1132 Robert Browning, Parting at, Morning 1133 DRAMA Henrik Ibsen, A Doll's House" 1133' • xviii Contents

121 Allegory ,:U ."• '._• 'V;S ;vir:.:;-•' Is This Supposed to Mean'Something Else; Too? . '1-194 < c'-

Learning through Likeness 1195 \

Engraving of Statue of Justice holding the scales [image] 1200 r . ,x Dosso Dossi, Allegory of Fortune [image] 1201 .1.. _ 1. Billy Collins, The Death of Allegory, [poem] 1202 ;• ^^r,-,;-

Reading Allegory ,, 1203,. .K.^ST.A -.<\- ,-. ,,:• ,:.. Plato, The Allegory of the Cave [prose] 1204 Experiencing Film through Allegory yjJ20Z c _, ...

The Matrix [film]: '1208 : / . ' ,... • ... .;,1W Modeling Critical Analysis: Joao Guimaraes Rosa, "•• ' The Third Bank of thei River [fiction] 1209 " ": Joao Guimaraes Rosa,,The Third Bank of the River [fiction] 1209

Anthology ..'.-.

The Quest for Truth: Reading Allegory 1214 . . ''... FICTION Nathaniel Hawthorne, Young Goodman Brown , 1216 , POETRY Lewis Carroll, Jabberwocky 1227 " ' ' ' ' Sir John Tenniel, The Jabberwocky [image] 1228 Edmund Spenser, from The Faerie Queene 1228 Richard Corbett, The Fairies Farewell 1231 Robert Browning, Porphyria's Lover 1233 John Donne, Batter My Heart, Three-Personed God 1235 John. Donne, The Canonization 1235 John Donne, Death, Be Not Proud 1237 Emily Dickinson, [Because I could not stop for Death—] 1237 Gerard Manley Hopkins, Pied Beauty 1238, Gerard Manley Hopkins, The Windhover 1239 • Ogden Nash, Kind of an Ode to Duty 1239 • , In Memory of Radio 1240- .'•••.. Anne Carson, TV Men: Lazarus 1242, • DRAMA Jane Martin, Beauty 1245 Contents xix

131 Symbolism How Do I Know When an Event or'an Image Is Supposed to Stand for Something Else? 1252 •

Figurative Language 1254 Experiencing Literature through Symbols 1256. '••• Mary Jo Salter, Home Movies: A Sort of.Ode [poem] 1256 •' ' Recognizing Symbols 1258 •" • • What does an apple symbolize? [images] 1259-1260 Gary Soto, Oranges [poem] 1261 <• - ' Allegory and Symbol .1262 Experiencing Literature through Symbolism' 1263 Nathaniel Hawthorne, from Young Goodman Brown [fiction] 1263 A NOTE TO STUDENT WRITERS: Justifying a Symbolic Reading 1265 Modeling Critical Analysis: Joao Guimaraes Rosa, The Third Bank of the River [fiction] 1265 ''

Anthology

Building and Undoing Community: Taking Part in Symbolism 1266 FICTION Gabriel Garcia Marquez, A Very Old Man with Enormous Wings _, 1269 Gabriel Garcia Marquez, The Handsomest Drowned Man in the World: A Tale for Children 1275 Jhumpa Lahiri, This Blessed House 1279 Shirley Jackson, The Lottery 1293 POETRY Matthew Arnold, Dover Beach 1301 , Green Chile 1302 ,'. •" e. e. cummings, [anyone "lived in a pretty how towri] 1304 Emily Dickinson, [The Soul selects her own Society—] " 1305 Seamus Heaney, Valediction 1305 ' Peter Meinke, Sunday at the Apple Market 1306 - SharonTpi'ds;,' The-Possessive':: 1307 '': Alice Walker, Women ' 1307' ' Walt Whitman, ^ThereWas a Child Went Fbrth 1308 William'Carlos'Williams, At the 'Ball Game'' 1310 William Butler Yeats, The Wild Swans'at C6ole ' 1311 Elizabeth Bishop,1 Pink -'.Dog ' 1312' • ''-\ ' Emma Lazarus; The New Colossus 1314' DRAMA , Death of a Salesman 1314 xx Contents

141 Context What.Outside Information Do We Really Need to, Know to Understand the Text? 1392

How Does New Knowledge Influence Our Experience of Old Texts? 1393 • Alfred, Lord Tennyson, The Charge of the Light Brigade [poem] 1393 Apocalypse Now [film] 1396 How Is Knowledge "Outside" the Text Helpful? 1397 Czeslaw Milosz, A Song on the End of the World [poem] 1397 Experiencing Literature in Context 1398 Czeslaw Milosz, Christopher Robin [poem] 1399 •Do-We-Need to Know Everything in Order to Understand? 1400 The Maltese Falcon [film] 1401 Experiencing Art in Context 1402 Gustave Caillebotte, Young Man at His Window [image] 1403 What if Substantial Outside Knowledge Is Essential? 1404 Herman Melville, The House-Top [poem] 1404 A NOTE TO STUDENT WRITERS: Using Electronic and Printed Sources for Research 1407 Modeling Critical Analysis: Joao Guimaraes Rosa, The Third Bank of the River [fiction] 1408

Anthology Language and War: Considering Context in Analysis 1410 FICTION Ernest Hemingway, Soldier's Home 1412 Tim O'Brien, The Things They Carried 1419 Tillie Olsen, I Stand Here Ironing 1434 POETRY Herman Melville, A Utilitarian View of the Monitor's. Fight 1441 Herbert Read, The Execution of Cornelius Vane 1442 Stephen Crane, There Was a Crimson Clash of War. 1446 e. e. cummings, [i sing of Olaf glad and big] 1447 , The Fury of Aerial Bombardment 1448 Edgar A. Guest, The Things That Make a Soldier Great 1449 Sir Henry Newbolt, Vitai Lampada 1450 Wilfred Owen, Anthem for Doomed Youth 1451 . Wilfred Owen, Qulce et Decorum Est 1452 , Grass 1453 Siegfried Sassoon, The Rear-Guard 1453 Siegfried Sassoon, Repression of War Experience 1454 , Courage 1455 Alice Moore Dunbar-Nelson, I Sit and Sew 1457 Contents xxi

Yusef Komunyakaa, Facing It 1458 Judith Ortiz Cofer, The Changeling 1459 Mary Jo Salter, Welcome to.Hiroshima 1460 Wislawa Szymborska, The End and the Beginning 1461 Wislawa Szymborska, Monologue of a Dog Ensnared ,- in History 1463 Adrienne Rich, For the,Record 1465 DRAMA Gina Victoria Shaffer, War Spelled Backwards 1466

15 | Allusions In Order to Understand This Text, Is There Something Else I Am Supposed to Have Read? 1474 Creating Community .1475 • ., . , Experiencing Literature through Allusions t 147-7 ,.: . , Charles Simic, My Weariness of Epic Proportions [poem] 1477 Revisiting and Renewal 1478 Dick Barnes, Up Home Where I Come From [poem] 1479 Leonardo da Vinci, The Last Supper [image] 1480 William Wordsworth; My Heart Leaps Up [poem] 1481 Experiencing Film through Allusions 1481 Saturday Night Fever [film] 1482 Pulp Fiction [film] 1482 Identifying and Responding to Allusions 1484 A NOTE TO STUDENT WRITERS: Reference versus AUusion 1486 Modeling Critical Analysis: Tom Stoppard, The Fifteen.Minute

Hamlet [drama] 1486 j . ,-. , i,

Tom Stoppard, The Fifteen Minute,Hamlet [drama] 1487

Anthology The Myth of Cheating. Death:. Keeping Literature Alive with Allusion 1497 FICTION Joyce Carol Oates, Where Are You Going, Where Have ' You Been? 1498 William Faulkner, A Rose for Emily 1512 POETRY Percy Bysshe Shelley, Ozymandias 1520 Sharon McCartney, After the Chuck Jones Tribute on Tele toon 1521 , Persephone 1522 •'•3" • Sylvia Plath, Two Sisters of Persephone 1523 John Keats, Ode on a Grecian Urn 1524 John Keats, [When I have fears that I may cease to be] 1526 xxii Contents

John Keats, On First Looking into Chapman's-Homer 1527 Amy Clampitt,' The Dakota 1527 Alfred, Lord Tennyson, The Lady of Shalott 1528 William Butler Yeats, Sailing to Byzantium 1533 Czeslaw Milosz, Orpheus and Eurydice 1534 , Orpheus, Eurydice, Hermes 1536 , Orpheus and Eurydice 1539' H. D., Eurydice 1541 • ' Adrienne Rich, I Dream I'm the Death of Orpheus 1545 , Keyboard 1546 DRAMA Mary Zimmerman, Metamorphoses 1547

16| Genre How Do Our Expectations Impact Our Literary Experience? How Are Those Expectations Formed? 1582- What Is Genre? 1583 Conventions 1584 • •• • ••„•;,•. ••• Experiencing Literature through Genre 1585 • • . Mrs. J. H. Riddell,./ram Nut Bush Farm [fiction] 1585 Disruptions 1586 ' .... Experiencing Literature through Genre 1587 •'-:' •.-. William Shakespeare, from Macbeth '[drama] • ''1588' ' Displacement and Parody 1589- •' '•"">• Publicity poster for Buffy the Vampire"Slayer [image] ' 1589 Mark Twain, Ode to Stephen Dowling Bots, Dec'd [poem] 1591 • i • Genre and Popular Culture 1592 Boys dressed as cowboys [images] 1593 ! ' • • ' • Experiencing Film through Genre 1593 Shane [film] 1594 •>•;••'

Unforgiven [film] .1595 ,"" t' A NOTE TO STUDENT WRITERS: Moving beyond Formulaic Writing 3 1596 Modeling Critical Analysis: Tom Stoppard, The Fifteen-Minute Hamlet [drama] 1597

Anthology ; • , . . . Honoring the Dead and Dignifying Death: Tracing Genre 1598 ,. FICTION Katherine Anne. Porter, The Jilting of Granny WeatheralL ,• 1601 Margaret Atwood, Happy Endings 1609 , . Contents xxiii

POETRY John Milton, Lycidas 1612 Walt Whitman, When Lilacs Last in the Dodryard Bloom'd 1617 Gwendolyn Brooks, De Witt Williams on His Way to Lincoln Cemetery 1624 , Ode to the Confederate Dead 1625 , .For the Union Dead 1628 John Keats, Ode to Autumn 1630 Anne Bradstreet, In Memory of My Dear Grandchild, Elizabeth Bradstreet, Who Deceased August 1665, Being a Year and Half Old 1631 Anne Bradstreet, Here Followes Some Verses upon the Burning of Our House, July 10, 1666 1632 Chidiock Tichborne, Elegy Written with His Own Hand in the Tower before His Execution 1633 Theodore Roethke, Elegy for Jane 1634 Seamus Heaney, Punishment 1635 , Dear John Wayne 1637 •»: • Langston Hughes, Night Funeral in Harlem 1638 Emily Dickinson, [I like a look of Agony] , 1640 Emily Dickinson, [After great pain, a formal feeling comes—] 1640 Rudyard Kipling, The Power of the Dog 1641 John Updike, Dog's Death 1642 DRAMA Sophocles, Antigone 1643

17 | The Production and Reproduction of Texts ' How Does Retelling and Revising Impact My Experience of a Text? How Can Literary Theory Clarify What Constitutes That Experience? 1674 Texts and Technology 1675 Textual Form and Conditions of Production 1676 Experiencing Literature through Issues of Production 1677 William Blake, A Poison Tree [image] 1678 An Orientation to Contemporary Critical Theory 1679 New criticism and auteur theory 1679 Deconstruction 1680 New historicism and other historically grounded approaches 1681 Why We Study the Texts We Study 1682 Experiencing Literature through Theory 1683 from Major Writers of America [prose] 1683 from Heath Anthology of [prose] 1684 xxiv Contents

A NOTE TO STUDENT WRITERS: Using Theory to Develop Critical ,... . -,r. ( , Analysis 1684 ...... Abridging, Revising, and Repackaging Text 1685 Oliver Twist [image] 1686 Oliver Twist [film] 1687 ' • :' Experiencing Literature through Issues of Production and Reproduction of Texts 1688 Mark Twain, from Adventures of Huckleberry Finn [fiction] 1688 Translations, Subtitles, and Dubbing 1689 from Lost in Translation [screenplay] , 1690 Modeling Critical Analysis: Tom Stoppard, The fifteen Minute • Hamlet [drama] 1691 ~

18 | An Orientation to Research ,

Why Should I Use Sources?-.,. ',-,<>• . ; •• How Do I Use Them? ; : .•„,•.• What Material Do I Document?•'• ' 1695 •

Why We Use Sources 1696 •• ••• ' - .••< Shaping a Topic 1698 How to Find Sources 1699 Giving Appropriate Credit: The Issue of Plagiarism 1703 David Sumner (Jones), Someone Forgotten (plagiarized) [poem]• 1703 Neal Bowers, Teh-Year Elegy [poem] ...11.704, .... .' ..-,.- . -• Experiencing Literature through Considerations of Plagiarism • • 1706 Plutarch, from Lives of the Npble Grecians and Romans [prose],., 1706 William Shakespeare, from Julius Caesar. 1707 , Integrating Sources into Writing: What We Document 1709 Quotation, paraphrase, and summary 1710 Distinct insights and common observations 1:712 Common knowledge 1.712. .. How to Cite 1713 • • ...•.:. Parenthetical references in the text 1713 -. ., , : The Works Cited list 1714

Appendix A: Student Model Essay Collection 1721 > Appendix B: Collection of Poet Biographies 1741 Appendix C: Alternate Contents by Genre'., 1779 . , .-,.;• Glossary 1791 , , , ..,,.. Credits .1809 . ,, , . ' ,. ' . ''.',' .-.', . ../ , ,".',, Index of First Lines of Poetry 1827 Index of Authors and Titles 1833