Summary
Bringing writers to readers brings readers to writing. Today's students do readwe know that they read a significant amount of email, text messages, web pages, and even magazines. What many do not do is read in a sustained way. Many do not come to college prepared to read long texts, nor do they come with the tools necessary to analyze and synthesize what they read. Nick Delbanco and Alan Cheuse have proven in their own teaching that when you improve students' ability and interest in reading, you will help them improve their writing. A new part 1 in this edition frontloads information for students on both the writing process and the critical use of sources. Bringing writers to students, brings students to writing. Literature: Craft and Voice is an innovative Introductory Literature program designed to engage students in the reading of Literature, all with a view to developing their reading, analytical, and written skills. Accompanied by, and integrated with, video interviews of dozens of living authors who are featured in the text, conducted by authors Nick Delbanco and Alan Cheuse specifically for use with their textbook, the book provides a living voice for the literature on the page and creates a link between the student and the authors of great works of literature. The first text of its kind, Literature: Craft and Voiceoffers a more enjoyable and effective reading experience through its fresh, inviting design and accompanying rich video program. Digital support is provided through CONNECT Literature which will be totally integrated with the Blackboard CMS.
Table of Contents
Literature: Craft & Voice, 2e
*Material marked with is an asterisk is new to this edition* New Part: PART 1: Writing from Reading* New Chapter: *1 Reading and Writing Analytically * The Role of Literature in a Visual Age Gareth Hinds: Beowulf, Graphic NovelTwo Film Adaptations of Beowulf*The Rewards of Close Reading *Reading Prepares You for Writing*Writing from Reading and College Success*Connect Writing in College to Writing Beyond College*The Literacy Narrative and Conversations on Writing Questions for Creating Your Own Literacy NarrativeA Conversation on Writing with Amy HempelAmy Hempel, San Francisco (1985)2 Writing from ReadingA Student’s Initial Reaction to “Rapture”An Interactive Reading of Anton Chekhov’s “Rapture”Using Critical Reading Strategies That Support WritingMoving from Summary to Interpretation A Student Paper: A Response to Anton Chekhov’s “Rapture”Reading from Writing* New Chapter:*3 Developing an Argument Source-Based Evidence: Summary vs. Paraphrase vs. Quotation*A Conversation with Robert PinskyRobert Pinsky, Shirt (1990)Ten Tips for Refining Your Ideas*Making a Claim: A Defensible Thesis *Using Logic to Organize Your Argument*Source-Based Evidence: Quoting, Paraphrasing, Summarizing, and Avoiding Plagiarism Using Quotations and Avoiding PlagiarismUsing Paraphrase and Avoiding Plagiarism Using Summary and Avoiding Plagiarism*A Student Paper: A Response to Robert Pinsky’s “Shirt”4 Writing across the Curriculum*Robert Frost, Stopping by Woods on a Snowy Evening (1923)Write to Learn Across the CurriculumUse Summary to Distill a Text A Student Paper: A Summary of Herman Melville’s “Bartleby, The Scrivener”Use Analysis to Examine How the Parts Contribute to the Whole ExplicationWilliam Blake: “The Garden of Love” (1794) Student Paper: An Explication of William Blake’s “The Garden of Love”Card Report Student Card Report on Flannery O’Connor’s “A Good Man Is Hard To Find”Use a Synthesis to Show Relationships Argument Comparison and Contrast Student Comparison-Contrast Paper on BeowulfUse Critique to Bring in Your Own Evaluation ReviewFind a Effective Approach to the Essay Exam Sample Notes for a Student Essay Exam A Student Essay Exam on Robert Frost’s “Stopping by Woods on a Snowy Evening”5 Writing the Research Paper, Avoiding Plagiarism, and Documenting Sources Langston Hughes, The Dream Keeper (1932)Research TodayElements in a Works Cited Entry: BooksElements in a Works Cited Entry: PeriodicalsElements in a Works Cited Entry: Online ResourcesWhat Information Requires Documentation?Samples of Types of Information Requiring Documentation Common Knowledge (Documentation Not Required)Working with Sources to Avoid PlagiarismTake Notes on Your Sources Do Not Copy and Paste Directly into Your Paper Keep Bibliographical Information in a Running List of Your Sources Tip: Avoiding Plagiarism and the Web Choosing a Topic Langston Hughes (1902–1967) The Dream Keeper (1932) Harlem (Dream Deferred) (1951)Finding Reliable and Relevant Sources Recognizing Signs of Unreliable Web Sites <5>Tip: Evaluating Web SourcesUsing Visual SourcesDeveloping a Thesis Creating a PlanDrafting Your Paper Drafting Body ParagraphsRevising Your DraftDraft Introductory Paragraph Revised Introductory ParagraphDraft Supporting Paragraph (Body)Revised Supporting Paragraph (Body) Draft Concluding ParagraphRevised Concluding ParagraphEditing and Formatting Your PaperBox: Questions to Guide EditingA Student Paper: A Research Paper on Langston Hughes*New: Online Casebook: Writing from Reading*Aesop, The Tortoise and the Hare (fable)*Aesop, The Boy Who Cried Wolf (fable)*The Gospel of St. Luke (parable)*William Blake, “Holy Thursday” (poem)*William Blake, “The Clod and the Pebble” (poem)Herman Melville, “Bartleby the Scrivener” (short story)PART 2: Fiction6 Reading a Story for Its ElementsA First ReadingA Critical ReadingA Conversation on Writing with John UpdikeJohn Updike, A&P (1961)Story and HistoryWhat Reading Fiction Gives UsKate Chopin (1851–1904)The Story of an Hour (1894)Alice Munro (B. 1931)An Ounce of Cure (1968)Suggestions for Writing7 Writing about FictionA Conversation on Writing with Jamaica KincaidJamaica Kincaid, Girl (1983)From Reading to WritingChecklist for WritingA Sample Student Essay in ProgressAn Interactive ReadingInitial ResponseExplore Your IdeasDevelop a Working ThesisCreate a PlanGenerate a First DraftFirst Draft of a Student PaperWriter’s BlockRevise Your DraftEdit Your Sentences; Proofread and Format Your Paper* Crafting Your Own Voice: SummaryFinal DraftA Student Paper: An Analysis of Jamaica Kincaid’s “Girl”Compiling a Writing Portfolio8 PlotA Conversation on Writing with T. Coraghessan BoyleT. Coraghessan Boyle, Greasy Lake (1985)An Artful Arrangement of IncidentsCrafting Plot James Joyce (1882–1941)Araby (1914)A Conversation on Writing with Joyce Carol Oates*Joyce Carol Oates, Where Are You Going, Where Have You Been? (1970)Richard Wright (1908-1960)*The Man Who Was Almost a Man (1940) Reading for PlotSuggestions for Writing about Plot9 CharacterA Conversation on Writing with Gish Jen Gish Jen, Who’s Irish? (1999)The Craft of CharacterizationWhat You See Is What You GetWhat’s in a Name?The Clothes Make the Man (or Woman)We Are What We (Repeatedly) DoCan You Hear Me Now?Round and Flat CharactersA History of CharacterJames Baldwin (1924–1987)*Sonny’s Blues (1957)Katherine Mans field (1888–1923) *Miss Brill (1920)Katherine Anne Porter (1890–1980)The Jilting of Granny Weatherall (1930)Reading for CharacterSuggestions for Writing about Character 10 SettingSetting as Physical EnvironmentA Conversation on Writing with Barry Lopez Barry Lopez, The Location of the River (1986)Setting as Social EnvironmentSetting and MoodSetting and CharacterRegional WritersKate Chopin (1851–1904)The Storm (c. 1899)Zora Neale Hurston (1891–1960) *The Gilded Six-Bits (1933)
Edgar Allan Poe (1809–1849)*The Cask of Amontillado (1846)Reading for SettingSuggestions for Writing about Setting11 Point of ViewNarrator and Point of ViewA Conversation on Writing with ZZ Packer ZZ Packer, Brownies (1999)A Participant, or First-Person, Narrator A Nonparticipant, or Third-Person, Narrator A Brief History of Point of View The Second-Person Narrator Junot Diaz (b. 1968)How to Date a Browngirl, Blackgirl, Whitegirl, or Halfie (1995)William Faulkner (1897–1962)*A Rose for Emily (1932)Ernest Hemingway (1899–1961)*Hills Like White Elephants (1927) Reading for Point of ViewSuggestions for Writing about Point of View12 Language, Tone, and StyleA Conversation on Writing with Aimee BenderAimee Bender, The Rememberer (1997)Crafting Style and ToneStyle and DictionTone and IronyA Brief History of IronySherman Alexie (b. 1966)*Indian Education (1993)Flannery O’Connor (1925–1964)*Good Country People (1955)Charlotte Perkins Gilman (1860–1935)The Yellow Wallpaper (1892)Reading for Language, Tone, and StyleSuggestions for Writing about Language, Tone, and Style13 ThemeA Conversation on Writing with Chimamanda Ngozi AdichieChimamanda Ngozi Adichie, Cell One (2007)Craft and ThemeWhat Theme Is NotWhat Theme IsThemes Through TimeIdentifying ThemesStephen Crane (1871–1900)The Open Boat: A Tale Intended to Be after the Fact: Being the Experience of Four Men from the Sunk Steamer Commodore (1897)Jhumpa Lahiri (b. 1967)Interpreter of Maladies (1999)A Conversation on Writing with Amy Tan*Two Kinds (1989)Reading for ThemeSuggestions for Writing about Theme14 SymbolA Conversation on Writing with Tim O’Brien, The Things They Carried (1986)Symbols in Everyday Life and LiteratureSymbol and AllegoryThe History of SymbolismRecognizing and Appreciating SymbolsLouise Erdrich (b. 1954)*The Red Convertible (1974)Nathaniel Hawthorne (1804–1864)Young Goodman Brown (1835)Eudora Welty (1909–2001)*A Worn Path (1940)Reading for SymbolsSuggestions for Writing about Symbolism15 American Regionalism and Sense of PlaceThe American West A Conversation on Writing with Dagoberto Gilb*Dagoberto Gilb, Love in L.A. (1993)John Steinbeck (1902–1968)The Chrysanthemums (1938)Leslie Marmon Silko (b. 1948)The Man to Send Rain Clouds (1969)The American SouthWilliam Faulkner (1897–1962)Barn Burning (1939)Flannery O’Connor (1925–1964)A Good Man Is Hard to Find (1955)Ralph Ellison (1914–1994)Battle Royal (1952)Getting Started: A Research Project