FIFTH EDITIOfsj ,. '/'J^.':.

THE BEpfOKD£INTKODUCTION T 0; L1TEKATUKE

Keadlng • TklTiking • Writing

MicKaet MeyerUniversity of Connecticut

BEDFORD /ST. MARTIN'S Boston & New York

Contents

Resources for Writing about Literature Inside front cover

Preface for Instructors vii

Introduction: Reading Imaginative Literature

The Nature of Literature iEMILY DICKINSON, A narrow Fellow in the Grass 2

The Value of Literature 3The Changing Literary Canon 5

FICTION

1. Reading Fiction 9

Reading Fiction Responsively 9KATE CHOPIN, The Story of an Hour 10

A Sample Paper: Differences in Responses to Kate Chopin's"The Story of an Hour" 14

Explorations and Formulas 18A Composite of a Romance Tip Sheet 20

PHOTO: Romance Novel Cover 23

A Comparison of Two Stories 24KAREN VAN DER ZEE, From A Secret Sorrow 25

GAIL GODWIN, A Sorrowful Woman 33

PERSPECTIVE: TANIA MODLESKI, The Popularity of Romance Novels 38

PERSPECTIVE: THOMAS JEFFERSON, On the Dangers of Reading Fiction 39

2. Writing about Fiction 40

From Reading to Writing 40Questions for Responsive Reading and Writing 41

xix

XX Contents

A Sample Student Paper in Progress 43

First Response 43Brainstorming 45Revising: First and Second Drafts 45Final Draft: Fulfillment or Failure? Marriage in A Secret Sorrow and

"A Sorrowful Woman" 54

3. Plot 60

EDGAR RICE BURROUGHS, From Tarzan of the Apes 62

PERSPECTIVE: GORE VIDAL, The Popularity of the Tarzan Books 68

MARK HALLIDAY, Young Man on Sixth Avenue 70

WILLIAM FAULKNER, A Rose for Emily 72

PERSPECTIVE: WILLIAM FAULKNER, On "A Rose for Emily" 79

ANDRE DUBUS, Killings 81

PERSPECTIVE: THOMAS E. KENNEDY, On Morality and Revenge in "Killings" 94

PERSPECTIVE: A. L. BADER, Nothing Happens in Modern Short Stories 9$

4. Character 97

CHARLES DICKENS, From Hard Times 98

BHARATI MUKHERJEE, The Tenant 102

HERMAN MELVILLE, Bartleby, the Scrivener 113

PERSPECTIVE: NATHANIEL HAWTHORNE, On Herman Melville's Philosophic Stance 138

PERSPECTIVE: DAN McCALL, On the Lawyer's Character in "Bartleby, the Scrivener" 139

LEON ROOKE, Sweethearts 141

5. Setting 143

ERNEST HEMINGWAY, Soldier's Home 14s

PERSPECTIVE: E. E. CUMMINGS, my sweet old etcetera 151

PERSPECTIVE: ERNEST HEMINGWAY, On What Every Writer Needs 152

FAY WELDON, IND AFF, or Out of Love in Sarajevo 153

PERSPECTIVE: FAY WELDON, On the Importance of Place in "IND AFF" 159

RUTH PRAWERJHABVALA, The Englishwoman 160

DAVID UPDIKE, Summer 169

6. Point of View 174

Third-Person Narrator 175First-Person Narrator 177

TONI CADE BAMBARA, The Lesson 179

ANTON CHEKHOV, The Lady with the Pet Dog 185

PERSPECTIVE: TWO Additional Translations of the Final Paragraphs of Anton Chekhov's"The Lady with the Pet Dog" 197

Contents xxi

ANTON CHEKHOV, From "The Lady and the Dog" (Translated

by Constance Garnett) 197

ANTON CHEKHOV, From "A Lady with a Dog" (Translated by Ronald Hingley) 198

PERSPECTIVE: ANTON CHEKHOV, On Morality in Fiction 199

JOYCE CAROL OATES, The Lady with the Pet Dog soo

PERSPECTIVE: MATTHEW C. BRENNAN, Point of View and Plotting in Chekhov'sand Oates's "The Lady with the Pet Dog" 213

7. Symbolism 215SANDRA CISNEROS, Barbie-Q 218

COLETTE [SIDONIE-GABRIELLE COLETTE], The Hand 220

RALPH ELLISON, Battle Royal 223

PERSPECTIVE: MORDECAI MARCUS, What Is an Initiation Story? 234

FAE MYENNE NG, A Red Sweater 235

8. Theme 243MARGARET ATWOOD, There Was Once 247

STEPHEN CRANE, The Bride Comes to Yellow Sky 2$o

KATHERINE MANSFIELD, Miss Brill 258

PERSPECTIVE: EUDORA WELTY, On the Plots of "The Bride Comes to Yellow Sky"

and "Miss Brill" 262

DAGOBERTO GILB, Love in L.A. 26s

9. Style, Tone, and Irony 268

Style 268Tone 270Irony 271

RAYMOND CARVER, Popular Mechanics 272

PERSPECTIVE: JOHN BARTH, On Minimalist Fiction 274

T. CORAGHESSAN BOYLE, Carnal Knowledge 276

SUSAN MINOT, Lust 290

GEORGE BOWERING, A Short Story 298

10. A Study of Three Authors: Nathaniel Hawthorne,Flannery O'Connor, and Alice Munro 306

Nathaniel Hawthorne 306PHOTO: Nathaniel Hawthorne 307

Chronology 310NATHANIEL HAWTHORNE, Young Goodman Brown 310

NATHANIEL HAWTHORNE, The Minister's Black Veil 320

xxii Contents

NATHANIEL HAWTHORNE, The Birthmark 329

NATHANIEL HAWTHORNE, Rappaccini's Daughter 341

Perspectives on Hawthorne 360

Hawthorne on Solitude 360

Hawthorne on the Power of the Writer's Imagination 362

Hawthorne on His Short Stories 363

HERMAN MELVILLE, On-Nathaniel Hawthorne's Tragic Vision 364

Two Complementary Critical Readings 365

JUDITH FETTERLEY, A Feminist Reading of "The Birthmark" 36$

JAMES QUINN and ROSS BALDESSARINI, A Psychological Reading

of "The Birthmark" 366

Flannery O'Connor 369PHOTO: Flannery O'Connor 369

Chronology 372

FLANNERY O'CONNOR, The Turkey 373

FLANNERY O'CONNOR, A Good Man Is Hard to Find 381

FLANNERY O'CONNOR, Good Country People 392

FLANNERY O'CONNOR, Revelation 407

Perspectives on O'Connor 421

O'Connor on Faith 421

O'Connor on the Materials of Fiction 422

O'Connor on the Use of Exaggeration and Distortion 423

O'Connor on Theme and Symbol 423

JOSEPHINE HENDIN, On O'Connor's Refusal to "Do Pretty" 42$

CLAIRE KAHANE, The Function of Violence in O'Connor's Fiction 42s

EDWARD KESSLER, On O'Connor's Use of History 426

Two Complementary Critical Readings 427

A. R. COULTHARD, On the Visionary Ending of "Revelation" 427

MARSHALL BRUCE GENTRY, On the Revised Ending of "Revelation" 429

Alice Munro 430PHOTO: Alice Munro 430

Chronology 433

ALICE MUNRO, An Ounce of Cure 434

ALICE MUNRO, How I Met My Husband 442

ALICE MUNRO, Prue 454

ALICE MUNRO, Miles City, Montana 458

Perspectives on Munro 472

GRAEME GIBSON, An Interview with Munro on Writing 472

BENJAMIN DeMOTT, On Munro's Female Protagonists 474

CATHERINE SHELDRICK ROSS, On the Reader's Experience in Reading Munro's

Stories 474

Contents xxiii

W. R. MARTIN, On Prue's Suppressed Passions 47$

GEORGE WOODCOCK, On Symbolism in Munro's Fiction 476

ROBERT HAMPSON, On the Reader's Expectations in "How I Met My Husband" 477

Two Complementary Critical Readings 478

Munro on Narration in "An Ounce of Cure" 478

LORRAINE McMULLEN, On Munro's Ironic Humor in "An Ounce of Cure" 479

11. Critical Case Study: William Faulkner's"Barn Burning" 480

PHOTO: William Faulkner 481

WILLIAM FAULKNER, Barn Burning 481

Perspectives on Faulkner 494

JANE HILES, Blood Ties in "Barn Burning" 494

BENJAMIN DeMOTT, Abner Snopes as a Victim of Class 496

GAYLE EDWARD WILSON, Conflict in "Barn Burning" 497

JAMES FERGUSON, Narrative Strategy in "Barn Burning" 500

Questions for Writing: Incorporating the Critics 501

An Excerpt from a Sample Paper: The Fires of Class Conflict in "BarnBurning" 504

12. Cultural Case Study: James Joyce's "Eveline" 507PHOTO: James Joyce in Paris $09

Chronology 511

JAMES JOYCE, Eveline 512

Documents 516

PHOTO: Poole Street, Dublin 516

Resources of Ireland (From the Alliance Temperance Almanack for 1910) $17

A Letter Home from an Irish Emigrant in Australia 520

A Plot Synopsis of The Bohemian Girl $21

13. A Collection of Stories 523

CHARLES JOHNSON, Exchange Value 523

FRANZ KAFKA, A Hunger Artist 528

JAMAICA KINCAID, Girl 534

STEPHEN KING, Suffer the Little Children 535

D. H. LAWRENCE, The Horse Dealer's Daughter 543

TIM O'BRIEN, How to Tell a True War Story 555

EDGAR ALLAN POE, The Purloined Letter 564

JOHN UPDIKE, A & P 576

XXIV Contents

r AN ALBUM OF WORLD LITERATURE

ISABEL ALLENDE (Chile), The Judge's Wife J&

BESSIE HEAD (Botswana), The Prisoner Who Wore Glasses 587

NAGUIB MAHFOUZ (Egypt), The Answer Is No 591

YUKIO MISH1MA (Japan), Patriotism 593

BI SHUMIN (China), Broken Transformers 609

AN ALBUM OF CONTEMPORARY STORIES

ALISON BAKER, Better Be Ready 'Bout Half Past Eight 617

RICHARD FORD, Bascombe, in Realty 632

GISH JEN, In the American Society 643

JOYCE CAROL OATES, The Night Nurse 653

TOBIAS WOLFF, Powder 66$

POETKY 669

14. Reading Poetry 671

Reading Poetry Responsively 671MARGE PIERCY, The Secretary Chant 671

ROBERT HAYDEN, Those Winter Sundays 672

JOHN UPDIKE, Dog's Death 673

The Pleasure of Words 674WILLIAM HATHAWAY, Oh, Oh 675

ROBERT FRANCIS, Catch 676

A Sample Analysis: Tossing Metaphors Together in "Catch" 678WOLE SOYINKA, Telephone Conversation- 681

ELIZABETH BISHOP, The Fish 682

PHILIP LARKIN, A Study of Reading Habits 684

ROBERT MORGAN, Mountain Graveyard 686

E. E. CUMMINGS, l(a 687

ANONYMOUS, Western Wind 688

REGINA BARRECA, Nighttime Fires 688

Suggestions for Approaching Poetry 689 .Poetry in Popular Forms 691

HELEN FARRIES, Magic of Love 692

JOHN FREDERICK NIMS, Love Poem 693

BRUCE SPRINGSTEEN, Streets of Philadelphia 694

QUEEN LATIFAH, The Evil That Men Do 695

PERSPECTIVE: ROBERT FRANCIS, On "Hard" Poetry 697

Contents

Poems for Further Study 698MICHAEL ONDAATJE, To a Sad Daughter 698

ALICE WALKER, a woman is not a potted plant 700

WYATT PRUNTY, Elderly Lady Crossing on Green 701

ALBERTO RIOS, Seniors 702

MARY JO SALTER, Welcome to Hiroshima 703

JOHN DONNE, The Sun Rising 70s

LI HO, A Beautiful Girl Combs Her Hair 706

ROBERT HASS, Happiness 707

MILLER WILLIAMS, Excuse Me 708

15. Writing about Poetry 710

From Reading to Writing 710Questions for Responsive Reading and Writing 711

ELIZABETH BISHOP, Manners 713

A Sample Analysis: Memory in Elizabeth Bishop's "Manners" 714

16. Word Choice, Word Order, and Tone 717

Diction 717Denotations and Connotations 719

RANDALL JARRELL, The Death of the Ball Turret Gunner 720

E. E. CUMMINGS, she being Brand 721

Word Order 723

Tone 723DEREK WALCOTT, The Virgins 723

RUTH FAINLIGHT, Flower Feet 724

KATHARYN HOWD MACHAN, Hazel Tells LaVerne 72s

MARTIN ESPADA, Latin Night at the Pawnshop 726

MAXINE KUMIN, Woodchucks 727

Diction and Tone in Four Love Poems 728ROBERT HERRICK, To the Virgins, to Make Much of Time 728 ,

ANDREW MARVELL, To His Coy Mistress 729

PERSPECTIVE: BERNARD DUYFHUIZEN, "To His Coy Mistress": On How a Female Might

Respond 731

RICHARD WILBUR, A Late Aubade 732

DIANE ACKERMAN, A Fine, a Private Place 734

Poems for Further Study 737MARGARET ATWOOD, Bored 737

THOMAS HARDY, The Convergence of the Twain 738

DAVID R. SLAVTTT, Titanic 739

SHARON OLDS, Sex without Love 740

XXV

xxvi Contents

JOHN KEATS, Ode on a Grecian Urn 741

GWENDOLYN BROOKS, We Real Cool 743

MARILYN BOWERING, Wishing Africa 743

D. H. LAWRENCE, The English Are So Nice! 74s

LOUIS SIMPSON, In the Suburbs 746

A Note on Reading Translations 746Two Translations of Neruda's "Juventud" 747

PABLO NERUDA, Juventud 747

PABLO NERUDA, Youth (Translated by Robert Bly) 748

PABLO NERUDA, Youth (Translated by Jack Schmitt) 748

Four Translations o f a Poem by Sappho 748

SAPPHO, Immortal Aphrodite of the broidered throne (Translated

by Henry T. Wharcon) 749

SAPPHO, Beautiful-throned, immortal Aphrodite (Translated by

T. W. Higginson) 749

SAPPHO, Invocation to Aphrodite (Translated by Richard Lattimore) 750

SAPPHO, Artfully adorned Aphrodite, deathless (Translated by Jim Powell) 731

17. Images 752

Poetry's Appeal to the Senses 752WILLIAM CARLOS WILLIAMS, Poem 753

BONNIE JACOBSON, On Being Served Apples 753

WALT WHITMAN, Cavalry Crossing a Ford 754

DAVID SOLWAY, Windsurfing 755

THEODORE ROETHKE, Root Cellar 756

MATTHEW ARNOLD, Dover Beach 757

JIMMY SANTIAGO BACA, Green Chile 758

Poems for Further Study 760SEAMUS HEANEY, The Pitchfork 760

H. D. [HILDA DOOLITTLE], Heat 761

TIMOTHY STEELE, An Aubade 761

WILLIAM BLAKE, London 762

WILFRED OWEN, Dulce et Decorum Est 763

MARGARET HOLLEY, Peepers 764

ELIZABETH BARRETT BROWNING, Grief 765

JAMES DICKEY, Deer Among Cattle 766

RAINER MARIA RILKE, The Panther 767

JANE KENYON, The Blue Bowl 768

SALLY CROFT, Home-Baked Bread 768

CAROLYN KIZER, Food for Love 769

JOHN KEATS, To Autumn 771

EZRA POUND, In a Station of the Metro 772

CATHY SONG, The White Porch 772

PERSPECTIVE: T. E. HULME, On the Differences between Poetry and Prose 774

Contents xxvii

18. Figures of Speech 775

WILLIAM SHAKESPEARE, From Macbeth (Act V, Scene v) 776

Simile and Metaphor 776MARGARET ATWOOD,you fit into me 777

EMILY DICKINSON, Presentiment— is that long Shadow—on the lawn — 777

ANNE BRADSTREET, The Author to Her Book 778

ROSARIO CASTELLANOS, Chess 779

Other Figures 780EDMUND CONTL Pragmatist 780

DYLAN THOMAS, The Hand That Signed the Paper 781

JANICE TOWNLEY MOORE, To a Wasp 782

J. PATRICK LEWIS, The Unkindest Cut 784

Poems for Further Study 784MARGARET ATWOOD, February 784

SOPHIE CABOT BLACK, August 785

ERNEST SLYMAN, Lightning Bugs 786

SYLVIA PLATH, Mirror 786

WILLIAM WORDSWORTH, London, 1802 787

JIM STEVENS, Schizophrenia 788

WALT WHITMAN, A Noiseless Patient Spider 788

WALT WHITMAN, The Soul, reaching, throwing out for love 789

JOHN DONNE, A Valediction: Forbidding Mourning 790

LINDA PASTAN, Marks 791

LUCILLE CLIFTON, come home from the movies 791

ELAINE MAGARRELL, Tfee Joy of Cooking 792

STEPHEN PERRY, Blue Spruce 793

ROBIN BECKER, Shopping 794

PERSPECTIVE: JOHN R. SEARLE, Figuring Out Metaphors 79s

19. Symbol, Allegory, and Irony 797

Symbol 797

ROBERT FROST, Acquainted with the Night 798

Allegory 799

EDGAR ALLAN POE, The Haunted Palace 800

Irony 802EDWIN ARLINGTON ROBINSON, Richard Cory 802

KENNETH FEARING, AD 803

JANICE MIRIKITANI, Recipe 803

E. E. CUMMINGS, next to of course god america i 805

STEPHEN CRANE, A Man Said to the Universe 80s

Poems for Further Study 806JANE KENYON, Surprise 806

Contents

MOLLY PEACOCK, Desire 883

MARK JARMAN, Unholy Sonnet 884

Villanelle 884

DYLAN THOMAS, Do not go gentle into that goad night 88s

JULIA ALVAREZ, Woman's Work 886

Ses t ina 886

ELIZABETH BISHOP, Sestina 887

FLORENCE CASSEN MAYERS, All-American Sestina 888

E p i g r a m 889

SAMUEL TAYLOR COLERIDGE, What Is an Epigram ? 889

A. R. AMMONS, Coward 890

DAVID McCORJD, Epitaph on a Waiter 890

PAUL LAURENCE DUNBAR, Theology 890

Limerick 890

ANONYMOUS, There was a young lady named Bright 890

LAURENCE PERRINE, The limerick's never averse 891

Haiku 891

MATSUQ BASHO, Under cherry trees 891

ETHERIDGE KNIGHT, Eastern Guard Tower 892

Elegy 892

SEAMUS HEANEY, Mid-term Break 892

ANDREW HUDGINS, Elegy for My Father, Who Is Not Dead 893

O d e 894

PERCY BYSSHE SHELLEY, Ode to the West Wind 894

Pic ture P o e m 896

MICHAEL McFEE, In Medias Res 897

Parody 897PETER DE VRIES, To His Importunate Mistress 898

X. J. KENNEDY, A Visit from St. Sigmund 899

PERSPECTIVE: ROBERT MORGAN, On the Shape of a Poem 900

PERSPECTIVE: ELAINE MITCHELL, Form 901

23. Open Form 902

E. E. CUMMINGS, in Just- 902

WALT WHITMAN, From "I Sing the Body Electric" 903

PERSPECTIVE: WALT WHITMAN, On Rhyme and Meter 904

GALWAY KINNELL, After Making Love We Hear Footsteps 905

WILLIAM CARLOS WILLIAMS, The Red Wheelbarrow 906

DENISE LEVERTOV, Gathered at the River 907

PERSPECTIVE: DENISE LEVERTOV, On "Gathered at the River" 909

Contents xxxi

MARILYN NELSON WANIEK, Emily Dickinson's Defunct 912

JIM DANIELS, Short-order Cook 913

CAROLYN FORCHE, The Colonel 914

SHARON OLDS, Rite of Passage 915

CAROLYNN HOY, In the Summer Kitchen 916

ALLEN GINSBERG, First Party at Ken Kesey's with Hell's Angels 917

ANONYMOUS, The Frog 918

TATO LAVIERA, AmeRican 918

THOM WARD, Vasectomy 920

JOSEPH BRUCHAC, Ellis Island 921

PETER MEINKE, The ABC of Aerobics 922

GARY SOTO, Mexicans Begin Jogging 923

Found Poem 923

DONALD JUSTICE, Order in the Streets 924

24. A Study of Three Poets: Emily Dickinson, Robert Frost,and Langston Hughes 925

Emily Dickinson 925PHOTO: Emily Dickinson 92$

PHOTO: Facsimile of manuscript page, "What Soft—Cherubic Creatures—" 928

EMILY DICKINSON, If I can stop one Heart from breaking 929

EMILY DICKINSON, / / / shouldn't be alive 929

EMILY DICKINSON, The Thought beneath so slight a film — 931

EMILY DICKINSON, To. make a prairie it takes a clover and one bee 931

Chronology 932

EMILY DICKINSON, Success is counted sweetest 932

EMILY DICKINSON, Water, is taught by thirst 933

EMILY DICKINSON, Safe in their Alabaster Chambers— (1859 version) 933

EMILY DICKINSON, Safe in their Alabaster Chambers—(1861 version) 934

EMILY DICKINSON, Portraits are to daily faces 934

EMILY DICKINSON, Some keep the Sabbath going to Church— 93s

EMILY DICKINSON, I taste a liquor never brewed— 936

EMILY DICKINSON, "Heaven"—is what I cannot reach! 936

EMILY DICKINSON, OfBronze-and Blaze— 937

EMILY DICKINSON, I like a look of Agony, 938

EMILY DICKINSON, I'm Nobody! Who are'you? 938

EMILY DICKINSON, Wild Nights - Wild Nights! 939

EMILY DICKINSON, I cannot dance upon my Toes— 940

EMILY DICKINSON, What Soft-Cherubic Creatures- 940

EMILY DICKINSON, The Soul selects her own Society — 941

EMILY DICKINSON, This is my letter to the World 942

EMILY DICKINSON, Much Madness is divinest Sense- 942

EMILY DICKINSON, I dwell in Possibility- 943

xxxn Contents

EMILY DICKINSON, This was a Poet-It is That 943 -

EMILY DICKINSON, I read my sentence—steadily— 944

EMILY DICKINSON, The Grass so little has to do- 94s

EMILY DICKINSON, After great pain, a formal feeling comes — 946

EMILY DICKINSON, I heard a Fly buzz—when I died— 946

EMILY DICKINSON, One need not be a Chamber—to be Haunted— 947

EMILY DICKINSON, Because I could not stop for Death —948

EMILY DICKINSON, A Light exists in Spring 949

EMILY DICKINSON, I felt a Cleaving in my Mind— 9S0

EMILY DICKINSON, The Bustle in a House 950 '

EMILY DICKINSON, Tell all the Truth but tell it slant— 951

EMILY DICKINSON, From all the Jails the Boys and Girls 951

Perspectives on Dickinson 952

Dickinson's Description of Herself 9S2

THOMAS WENTWORTH HIGGINSON, On Meeting Dickinson for the First Time 9S3

MABEL LOOMIS TODD, The Character of Amherst 9$4

RICHARD WILBUR, On Dickinson's Sense of Privation 9S4

SANDRA M. GILBERT and SUSAN GUBAR, On Dickinson's White Dress 9SS

KARL KELLER, Robert Frost on Dickinson 956

CYNTHIA GRIFFIN WOLFF, On the Many Voices in Dickinson's Poetry 958

PAULA BENNETT, On "I heard a Fly buzz—when I died— " 959

JOAN KIRKBY, On the Fragility of Language in Dickinson's Poetry 960

GALWAY KINNELL, The Deconstruction of Emily Dickinson 961

Two Complementary Critical Readings 963

CHARLES R. ANDERSON, Eroticism in "Wild Nights—Wild Nights!" 963

DAVID S. REYNOLDS, Popular Literature and "Wild Nights—Wild Nights!" 964

Questions for Writing about an Author in Depth 965

A Sample In-Depth Study: Religious Faith in Four Poemsby Emily Dickinson 966

EMILY DICKINSON, "Faith" is a fine invention 966

EMILY DICKINSON, / know that He exists 967

EMILY DICKINSON, I never saw a Moor— 967

EMILY DICKINSON, Apparently with no surprise 967

Robert Frost 971PHOTO: Robert Frost 972

PHOTO: Facsimile of manuscript page, "Neither Out Far nor In Deep" 974

ROBERT FROST, The Road Not Taken 976

ROBERT FROST, The Pasture 978

Chronology 978

ROBERT FROST, Mending Wall 979

ROBERT FROST, Home Burial 980

ROBERT FROST, After Apple-Picking 983

ROBERT FROST, The Wood-Pile 984

Contents xxxiii

ROBERT FROST, Birches 986

ROBERT FROST, "Out, Out— " 987

ROBERT FROST, Fire and Ice 988

ROBERT FROST, Stopping by Woods on a Snowy Evening 989 '

ROBERT FROST, Nothing Gold Can Stay 989

ROBERT FROST, Once by the Pacific 990

ROBERT FROST, Two Tramps in Mud Time 991

ROBERT FROST, Design 993

ROBERT FROST, Neither Out Far nor In Deep 993

ROBERT FROST, Come In 994

ROBERT FROST, The Silken Tent 99s

ROBERT FROST, The Most of It 99s

Perspectives on Frost 996

"In White": Frost's Early Version of "Design" 996

Frost on the Living Part of a Poem 997

AMY LOWELL, On Frost's Realistic Technique 998

Frost on the Figure a Poem Makes 998

Frost on the Way to Read a Poem 1000

LIONEL TRILLING, On Frost as a Terrifying Poet 1001

HERBERT R. COURSEN JR., A Parodic Interpretation of "Stopping by Woods on a SnowyEvening" 1003

DONALD J. GREINER, On What Comes "After Apple-Picking" 1004

BLANCHE FARLEY, The Lover Not Taken 1005

DEREK WALCOTT, The Road Taken 1006

TVo Complementary Critical Readings 1007RICHARD POIRIER, On Emotional Suffocation in "Home Burial" 1007

KATHERINE KEARNS, On the Symbolic Setting of "Home Burial" 1008

Langston Hughes 1009PHOTO: Langston Hughes 1009

LANGSTON HUGHES, The Negro Speaks of Rivers 1010

PHOTO: Facsimile of manuscript page, "Old Walt" 1012

LANGSTON HUGHES, I, Too 1014

Chronology 1015

LANGSTON HUGHES, Negro 1016

LANGSTON HUGHES, Danse Africaine 1017

LANGSTON HUGHES, Jazzonia 1017

LANGSTON HUGHES, Dream Variations 1018

LANGSTON HUGHES, Johannesburg Mines 1019

LANGSTON HUGHES, The Weary Blues 1019

LANGSTON HUGHES, Cross 1020

LANGSTON HUGHES, Formula 1021

LANGSTON HUGHES, Lenox Avenue: Midnight 1022

LANGSTON HUGHES, Red Silk Stockings 1022

LANGSTON HUGHES, Rent-Party Shout: For a Lady Dancer 1023

xxxiv Contents

LANGSTON HUGHES, The English 1024

LANGSTON HUGHES, Note on Commercial Theatre 1024

LANGSTON HUGHES, Ballad of the Landlord 1025

LANGSTON HUGHES, Midnight Raffle 1026

LANGSTON HUGHES, Theme for English B 1027

LANGSTON HUGHES, Juke Box Love Song 1028

LANGSTON HUGHES, Dream Boogie 1029

LANGSTON HUGHES, Harlem 1030

LANGSTON HUGHES, Un-American Investigators 1030

LANGSTON HUGHES, Old Walt 1031

LANGSTON HUGHES, doorknobs 1032

LANGSTON HUGHES, Dinner Guest: Me 1033

LANGSTON HUGHES, Frederick Douglass: 1817-1895 1034

Perspectives on Hughes 1034

Hughes on Racial Shame and Pride 1034

Hughes on Harlem Rent Parties 103s

DONALD B. GIBSON, The Essential Optimism of Hughes and Whitman 1036

JAMES A. EMANUEL, Hughes's Attitudes toward Religion 1037

RICHARD K. BARKSDALE, On Censoring "Ballad of the Landlord" 1038

STEVEN C. TRACY, A Reading of "The Weary Blues" 1039

DAVID CHINITZ, The Romanticization of Africa in the 1920s 1040

Two Complementary Critical Readings 1041

COUNTEE CULLEN, On Racial Poetry 1041

ONWUCHEKWA JEMIE, On Universal Poetry 1042

25. Critical Case Study: T. S. Eliot's "The Love Songof J. Alfred Prufrock" 1044

PHOTO: T. S. Eliot 104s

T. S. ELIOT, The Love Song ofj. Alfred Prufrock 104s

Perspectives on Eliot 1049

ELISABETH SCHNEIDER, Hints of Eliot in Prufrock 1049

BARBARA EVERETT, The Problem of Tone in Prufrock ioso

MICHAEL L. BAUMANN, The "Overwhelming Question" for Prufrock 1051

FREDERIK L. RUSCH, Society and Character in "The Love Song ofj. Alfred

Prufrock" I0S3

ROBERT SWARD, A Personal Analysis of "The Love Song ofj. Alfred Prufrock" loss

26. Cultural Case Study: Julia Alvarez's "Queens, 1963" 1060PHOTO: Julia Alvarez 1061

Chronology 1063

JULIA ALVAREZ, Queens, 1963 1063

Contents

Documents 1066

MARNY REQUA, From an Interview with Julia Alvarez 1066

PHOTO: An Advertisement for Tudor Row Houses 1067

Queens: "The 'Fair' Borough" 1068

NORMAN LEAR, "Talkin' about Prejudice" in Queens (from Meet the Bunkers,) 1069

PHOTO: A Civil Rights Demonstration 1072

27. A Collection of Poems 1073

MAYA ANGELOU, Africa 1073

ANONYMOUS, Bonny Barbara Allan 1074

ANONYMOUS, Lord Randal 1075

ANONYMOUS, Scottsboro 1076

W. H. AUDEN, The Unknown Citizen 1076

MARGARET AVISON, Tennis 1077

AMIRI BARAKA, SOS 1077

WILLIAM BLAKE, The Garden of Love 1078

WILLIAM BLAKE, Ah Sun-flower 1078

ROBERT BLY, Snowfall in the Afternoon 1078

ROBERT BLY, Waking from Sleep 1079

ROO BORSON, Talk 1079

ANNE BRADSTREET, Before the Birth of One of Her Children 1080

ANNE BRADSTREET, To My Dear and Loving Husband 1080

GWENDOLYN BROOKS, The Mother 1081

ROBERT BROWNING, Meeting at Night 1082

ROBERT BROWNING, Parting at Morning 1082

GEORGE GORDON, LORD BYRON, She Walks in Beauty 1082

LUCILLE CLIFTON, for deLawd 1083

SAMUEL TAYLOR COLERIDGE, Kubla Khan: or, a Vision in a Dream 1083 .

WILLIAM COWPER, Epitaph on a Hare 108s

VICTOR HERNANDEZ CRUZ, Anonymous 1086

COUNTEE CULLEN, Yet Do I Marvel 1086

E. E. CUMMINGS, Buffalo Bill 's 1087

E. E. CUMMINGS, since feeling is first 1087

MARY di MICHELE, As in the Beginning 1087

GREGORY DJANIKIAN, When I First Saw Snow 1088

JOHN DONNE, The Apparition . 1089

JOHN DONNE, Batter My Heart 1089

JOHN DONNE, Death Be Not Proud 1090

JOHN DONNE, The Flea 1090

DAVID DONNELL, The Canadian Prairies View of Literature 1091

GEORGE ELIOT [MARY ANN EVANS], In a London Drawingroom 1092

LOUISE GLUCK, The School Children 1092

DONALD HALL, My Son, My Executioner 1093

THOMAS HARDY, Hap 1093

THOMAS HARDY, The Ruined Maid 1093

xxxvi Contents

JOY HARJO, Fishing 1094

MICHAEL S. HARPER, Grandfather 109s

ANTHONY HECHT, The Dover Bitch 1096

GEORGE HERBERT, The Collar 1097

LINDA HOGAN, Song for My Name 1098

M. CARL HOLMAN, Mr. Z 1098

GERARD MANLEY HOPKINS, Pied Beauty 1099

GERARD MANLEY HOPKINS, The Windhover 1100

A. E. HOUSMAN, Is my team ploughing 1100

A. E. HOUSMAN, To an Athlete Dying Young 1101

BEN JONSON, On My First Son 1102

BEN JONSON, To Celia 1102

JOHN KEATS, When I have fears that I may cease to be 1103

JOHN KEATS, La Belle Dame sans Merci 1103

ETHERIDGE KNIGHT, A Watts Mother Mourns While Boiling Beans 1104

PHILIP LARKIN, This Be the Verse 110s

LI-YOUNG LEE, Eating Together nos

PHILIP LEVINE, The Simple Truth nos

HENRY WADSWORTH LONGFELLOW, Snow-Flakes 1106

AUDRE LORDE, Hanging Fire 1107

ARCHIBALD MACLEISH, Ars Poetica 1107

CHRISTOPHER MARLOWE, The Passionate Shepherd to His Love 1108

HERMAN MELVILLE, The Maldive Shark 1109

JOHN MILTON, On the Late Massacre in Piedmont 1109

JOHN MILTON, When I consider how my light is spent 1110

N. SCOTT MOMADAY, The Bear IIIO

MARIANNE MOORE, Poetry nil

WILFRED OWEN, Arms and The Boy 1112

MARGE PIERCY, Barbie Doll 1112

SYLVIA PLATH, Daddy 1113

SYLVIA PLATH, Metaphors HIS

EDGAR ALLAN POE, Alone ins

ADRIENNE RICH, Living in Sin ins

CHRISTINA GEORGINA ROSSETTI, Some Ladies Dress in Muslin Full and White 1116

WILLIAM SHAKESPEARE, Not marble, nor the gilded monuments 1116

WILLIAM SHAKESPEARE, That time of year thou mayst in me behold 1117

WILLIAM SHAKESPEARE, When forty winters shall besiege thy brow 1117

WILLIAM SHAKESPEARE, When, in disgrace with Fortune and men's eyes 1118

PERCY BYSSHE SHELLEY, Ozymandias 1118

SIR PHILIP SIDNEY, Loving in Truth, and Fain in Verse My Love to Show 1119

GARY SOTO, Black Hair 1119

WALLACE STEVENS, The Emperor of Ice-Cream 1120

ALFRED, LORD TENNYSON, Ulysses 1120

ROBERT WALLACE, The Double-Play 1122

EDMUND WALLER, Go, Lovely Rose 1123

WALT WHITMAN, One Hour to Madness and Joy 1123

WALT WHITMAN, One's-Selfl Sing 1124

Contents XXXVll

WALT WHITMAN, When I Heard the Learn'd Astronomer 1124

RICHARD WILBUR, Love Calls Us to the Things of This World 1124

MILLER WILLIAMS, Thinking About Bill, Dead of AIDS 1125

WILLIAM CARLOS WILLIAMS, Spring and All 1126

WILLIAM CARLOS WILLIAMS, This Is Just to Say ' 1127

WILLIAM WORDSWORTH, I Wandered Lonely as a Cloud 1127

WILLIAM WORDSWORTH, A Slumber Did My Spirit Seal 1128

WILLIAM WORDSWORTH, The Solitary Reaper 1128

JAMES WRIGHT, A Blessing 1129

MITSUYE YAMADA, A Bedtime Story 1129

WILLIAM BUTLER YEATS, Adam's Curse 1130

WILLIAM BUTLER YEATS, Crazy Jane Talks with the Bishop 1131

WILLIAM BUTLER YEATS, Leda and the Swan 1132

WILLIAM BUTLER YEATS, Sailing to Byzantium 1132

WILLIAM BUTLER YEATS, The Second Coming 1133

DAVID ZIEROTH, Time over Earth 1134

r AN ALBUM OF WORLD LITERATURE

ANNA AKHMATOVA (Russia), Dedication 113s

CLARIBEL ALEGRIA (El Salvador), / Am Mirror 1136

KATERINA A N G H E L A K I - R O O K E (Greece), Jealousy 1138

FAIZ AHMED FAIZ (Pakistan), If You Look at the City from Here 1139

XU GANG (China), Red Azalea on the Cliff 1140

PABLO NERUDA (Chile), Sweetness, Always 1141

OCTAVIO PAZ (Mexico), The Street 1143

INDIRA SANT (India), Household Fires 1144

WOLE SOYINKA (Nigeria), Future Plans 114s

WISLAWA SZYMBORSKA (Poland), End and Beginning 1146

TOMAS TRANSTROMER (Sweden), April and Silence 1148

- AN ALBUM OF CONTEMPORARY POEMS

ELIZABETH ALEXANDER, Harlem Birthday Party 1148

CORNELIUS EADY, The Supremes 1150

MARTIN ESPADA, Coca-Cola and Coco Frio 1151

DEBORAH GARRISON, She Was Waiting to Be Told u$2 , .

DONALD HALL, Letter with No Address IIS3

MARK HALLIDAY, Graded Paper 1156

ROBERT HASS, A Story About the Body IIS7

JUDY PAGE HEITZMAN, The Schoolroom on the Second Floor of the Knitting Mill 1158

JANE HIRSHFIELD, The Lives of the Heart 1159

LINDA HOGAN, Hunger 1160

YUSEF KOMUNYAKAA, Facing It 1162

JOAN MURRAY, Play-By-Play 1163

RONALD WALLACE, Dogs 1164

xxxviii Contents

DKAMA

28. Reading Drama 1169

Reading Drama Responsively 1169SUSAN GLASPELL, Trifles 1172PERSPECTIVE: SUSAN GLASPELL, From the Short Story Version of Trifles 1182

Elements of Drama 1185

DAVID P7ES, Sure Thing 1189

Drama in Popular Forms 1196LARRY DAVID, From "The Pitch," a Seinfeld Episode 1199PERSPECTIVE: GEOFFREY O'BRIEN, On Seinfeld as Sitcom Moneymaker 1207

29. Writing about Drama 1210

From Reading to Writing 1210Questions for Responsive Reading and Writing 1211

A Sample Paper: The Feminist Evidence in Trifles 1213

30. A Study o f Sophocles 1217

PORTRAIT: Sophocles 1217

Chronology 1218

Theatrical Conventions of Greek Drama 1218PHOTO: Drawing of a classical Greek theater 1220

Tragedy 1221

SOPHOCLES, Oedipus the King (Translated by Robert Fagles) 1224SOPHOCLES, Antigone (Translated by Robert Fagles) 1267

Perspectives on Sophocles 1303

ARISTOTLE, On Tragic Character 1303SIGMUND FREUD, On the Oedipus Complex 130sSOPHOCLES, Another Translation of a Scene from Oedipus the King 1306MURIEL RUKEYSER, On Oedipus the King 1309JEAN ANOUILH, A Scene from Antigone 1310MAURICE SAGOFF, A Humorous Distillation of Antigone 1312BERNARD KNOX, On Oedipus and Human Freedom 1313

Two Complementary Critical Readings 1314

R. G. A. BUXTON, The Major Critical Issue in Antigone 1314CYNTHIA P. GARDINER, The Function of the Chorus in Antigone 131s

31. A Study of William Shakespeare 1316

PORTRAIT: William Shakespeare 1316

Chronology 1317

Contents xxxix

Shakespeare's Theater 1318PHOTO: Drawing of the Globe Theatre 1321

The Range of Shakespeare's Drama: History, Comedy,and Tragedy 1322A Note on Reading Shakespeare 1325

WILLIAM SHAKESPEARE, A Midsummer Night's Dream 1327

WILLIAM SHAKESPEARE, Hamlet, Prince of Denmark 1383

WILLIAM SHAKESPEARE, The Tempest 1483

Perspectives on Shakespeare 1543

Objections to the Elizabethan Theater by the Mayor of London 1S43

LISA JARDINE, On Boy Actors in Female Roles IS44

SAMUEL JOHNSON, On Shakespeare's Characters IS4S

SIGMUND FREUD, On Repression in Hamlet 1546

JAN KOTT, On Producing Hamlet 1547

COPPELIA KAHN, On Cuckoldry in Hamlet 1548

RUSSELL JACKSON, A Film Diary of the Shooting of Kenneth Branagh's Hamlet 7550

LOUIS ADRIAN MONTROSE, On Amazonian Mythology in A Midsummer Night 's

Dream ISS2

JAMES KINCAID, On the Value of Comedy in the Face of Tragedy ISS3

Two Complementary Critical Readings 1555

G. WILSON KNIGHT, Prospero's Civilizing Influence isss

ALDEN T. VAUGHAN, Caliban as a Sociopolitical Symbol 1556

32. Modern Drama 1559

Realism 1559Naturalism 1561Theatrical Conventions of Modern Drama 1562

HENRIK IBSEN, A Doll House (Translated by Rolf Fjelde) 1564

PERSPECTIVE: HENRIK IBSEN, Notes for A Doll House 1613

ANTON CHEKHOV, The Proposal: A Jest in One Act (Translated byElisaveta Fen) 161s

PERSPECTIVE: ANTON CHEKHOV, On What Artists Do Best 162$

33. Critical Case Study: Henrik Ibsen's A Doll House 1627

PHOTO: Henrik Ibsen 1627

Perspectives 1628

A Nineteenth-Century Husband's Letter to His Wife 1628

BARRY WITHAM and JOHN LUTTERBIE, A Marxist Approach to A Doll House 1630

CAROL STRONGIN TUFTS, A Psychoanalytic Reading of Nora 1632

JOAN TEMPLETON, Is A Doll House a Feminist Text? 163s

Questions for Writing: Applying a Critical Strategy 1636

A Sample Paper: On the Other Side of the Slammed Doorin A Doll House 1639

xl Contents

34. Experimental Trends in Drama 1644

Beyond Realism 1644SAMUEL BECKETT, Krapp's Last Tape 1649

PERSPECTIVE: MARTIN ESSLIN, On the Theater of the Absurd 1656

JANE MARTIN, Rodeo 1657

ANNA DEAVERE SMITH, From Twilight: Los Angeles, 1992 1661

35. Cultural Case Study: David Henry Hwang'sM. Butterfly 1672

PHOTO: David Henry Hwang 1673

Chronology 1675

DAVID HENRY HWANG, M. Butterfly 167s

Documents 1722

HAROLD ROSENTHAL and JOHN WARRACK, A Plot Synopsis

o/Madame Butterfly 1722RICHARD BERNSTEIN, The News Source for M. Butterfly 1723PHOTO: Shi Pei Pu in The Story of the Butterfly 172s

FRANK RICH, A Theater Review ofU. Butterfly 1721?DAVID SAVRAN, An Interview with David Henry Hwang 1727

Photos: Plays in Performance Between pages 1684 and 1685

A scene from Oedipus the KingA scene from AntigoneA scene from A Midsummer Night's DreamThe "play within the play" scene from HamletTwo scenes from The Tempest

-Two scenes from A Doll HouseA scene from Krapp's Last TapeA scene from RodeoTwo scenes from Twilight: Los Angeles, 1992A scene from M. ButterflyA scene from A Raisin in the SunA scene from Death of a SalesmanA scene from The Glass MenagerieA scene from The Original Last Wish BabyA scene from The Piano Lesson

36. A Collection of Plays 1729

LORRAINE HANSBERRY, A Raisin in the Sun 1730 .

PERSPECTIVE: THOMAS P. ADLER, The Political Basis of Lorraine Hansberry's Art 1793

Contents

ARTHUR MILLER, Death of a Salesman 179s .

PERSPECTIVE: ARTHUR MILLER, Tragedy and the Common Man i860

PERSPECTIVE: ARTHUR MILLER, On Biff and Willy Loman 1863

TENNESSEE WILLIAMS, The Glass Menagerie 1864

PERSPECTIVE: TENNESSEE WILLIAMS, Production-Notes to The Glass Menagerie 1908

PERSPECTIVE: TENNESSEE WILLIAMS, On Theme 1910

r AN ALBUM OF WORLD LITERATURE :

xli

BRIAN FRIEL (Ireland), From Molly Sweeney 1911

WOLE SOYINKA (Nigeria), The Strong Breed 1919

PERSPECTIVE: JAMES GIBB, Ritual Sacrifice in The Strong Breed 1942

1- AN ALBUM OF CONTEMPORARY PLAYS

WILLIAM SEEBRING, The Original Last Wish Baby 1944

WENDY WASSERSTEIN, Tender Offer 1956

AUGUST WILSON, The Piano Lesson 1962

CRJT1CAL THINKING AND WRJT1NG 2019

37. Critical Strategies for Reading 2021

Critical Thinking 2021The Literary Canon: Diversity and Controversy 2023Formalist Strategies 2025Biographical Strategies 2027Psychological Strategies 2029Historical Strategies 2031

Literary History Criticism 2032Marxist Criticism 2033New Historicist Criticism 2033Cultural Criticism 2034

Gender Strategies 2035

Feminist Criticism 2036Gay and Lesbian Criticism 2037

Mythological Strategies 2037Reader-Response Strategies 2039Deconstructionist Strategies 2041Selected Bibliography 2043

Perspectives on Critical Reading 2048

SUSAN SONTAG, Against Interpretation 2048

JUDITH FETTERLEY, A Feminist Reading of "A Rose For Emily" 2048

xlii Contents

ANNETTE KOLODNY, On the Commitments of Feminist Criticism 2Ojo

ANDREW P. DEBICKI, New Criticism and Deconstructionism: Two Attitudes in Teaching

Poetry 2050

BROOK THOMAS, A New Historical Approach to Keats's "Ode on a Grecian Urn" 2053

PETER RABINOWITZ, On Close Readings 2055-

HARRIET HAWKINS, Should We Study King Kong or King Lear? 2058

MORRIS DICKSTEIN, On the Social Responsibility of the Critic 2060

WENDY STEINER, On the Critics' Readership 2061

38. Reading and Writing 2063

The Purpose and Value of Writing about Literature 2063Reading the Work Closely 2064Annotating the Text and Journal Note Taking 2065Choosing a Topic 2067Developing a Thesis 2068Arguing about Literature 2071Organizing a Paper 2074Writing a Draft 2075Revising and Editing 2078Manuscript Form 2080Types of Writing Assignments 2081

EMILY DICKINSON, There's a certain Slant of light 2082

A Sample Explication: A Reading of Dickinson's "There's a certainSlant of light" 2084A Sample Analysis: The A & P as a State of Mind 2089A Sample Comparison: The Struggle for Women's Self-Definitionin A Doll House and M. Butterfly 20514

39. The Literary Research Paper 2099

Choosing a Topic 2100Finding Sources 2100

Annotated List of References 2100Electronic Sources 2102

Evaluating Sources and Taking Notes 2103Developing a Thesis and Organizing the Paper 2105Revising 2105Documenting Sources 2106

The List of Works Cited 2108Parenthetical References 2111

Contents xliii

A Sample Research Paper: How the Narrator Cultivatesa Rose for Emily 2113

40. Taking Essay Examinations 21*8

Preparing for an Essay Exam 2118Types of Exams 2120Strategies for Writing Essay Exams 2121

Glossary o f Literary Terms 2123

Index of First Lines 2161

Index of Authors and Titles 2168

Index of Terms Inside back cover