Fiction |
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2 | (792) |
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Fiction: Reading, Responding, Writing |
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2 | (19) |
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2 | (3) |
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Kill Day on the Government Wharf |
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5 | (9) |
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14 | (6) |
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QUESTIONS/WRITING SUGGESTIONS |
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20 | (1) |
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21 | (288) |
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21 | (51) |
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26 | (3) |
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29 | (18) |
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47 | (23) |
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QUESTIONS/WRITING SUGGESTIONS |
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70 | (2) |
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72 | (31) |
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75 | (5) |
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An Occurrence at Owl Creek Bridge |
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80 | (7) |
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87 | (15) |
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QUESTIONS/WRITING SUGGESTIONS |
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102 | (1) |
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103 | (42) |
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107 | (9) |
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116 | (10) |
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126 | (13) |
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A Conversation with My Father |
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139 | (4) |
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QUESTIONS/WRITING SUGGESTIONS |
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143 | (2) |
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145 | (39) |
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147 | (9) |
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156 | (15) |
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171 | (11) |
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QUESTIONS/WRITING SUGGESTIONS |
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182 | (2) |
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184 | (27) |
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187 | (9) |
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196 | (7) |
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203 | (3) |
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QUESTIONS/WRITING SUGGESTIONS |
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206 | (2) |
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STUDENT WRITING: The Struggle to Surface in the Water of "Sonny's Blues" |
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208 | (3) |
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211 | (23) |
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214 | (4) |
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218 | (8) |
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226 | (6) |
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QUESTIONS/WRITING SUGGESTIONS |
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232 | (2) |
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234 | (75) |
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234 | (30) |
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QUESTIONS AND WRITING SUGGESTIONS |
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264 | (1) |
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265 | (16) |
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QUESTIONS AND WRITING SUGGESTIONS |
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281 | (1) |
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282 | (25) |
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QUESTIONS/WRITING SUGGESTIONS |
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307 | (2) |
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309 | (239) |
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8 THE AUTHOR'S WORK AS CONTEXT: D. H. LAWRENCE AND FLANNERY O'CONNOR |
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309 | (107) |
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315 | (44) |
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315 | (14) |
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329 | (14) |
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343 | (11) |
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Passages from Essays and Letters |
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354 | (5) |
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359 | (55) |
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A Good Man Is Hard to Find |
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359 | (12) |
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The Lame Shall Enter First |
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371 | (26) |
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Everything That Rises Must Converge |
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397 | (11) |
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Passages from Essays and Letters |
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408 | (6) |
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QUESTIONS/WRITING SUGGESTIONS |
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414 | (2) |
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9 LITERARY KIND AS CONTEXT: INITIATION STORIES |
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416 | (21) |
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417 | (5) |
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422 | (10) |
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432 | (3) |
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QUESTIONS/WRITING SUGGESTIONS |
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435 | (2) |
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10 FORM AS CONTEXT: THE SHORT STORY |
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437 | (17) |
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438 | (2) |
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A Very Old Man with Enormous Wings |
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440 | (5) |
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A Clean, Well-Lighted Place |
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445 | (4) |
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449 | (1) |
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The Grasshopper and the Bell Cricket |
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450 | (2) |
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QUESTIONS/WRITING SUGGESTIONS |
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452 | (2) |
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454 | (46) |
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455 | (21) |
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476 | (16) |
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Pierre Menard, Author of the Quixote |
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492 | (6) |
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QUESTIONS/WRITING SUGGESTIONS |
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498 | (2) |
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12 CRITICAL CONTEXTS: A FICTION CASEBOOK |
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500 | (48) |
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502 | (8) |
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STUDENT WRITING: "Like the Sand of the Hourglass..." |
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510 | (3) |
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"We all said, `she will kill herself'": The Narrator/Detective in William Faulkner's "A Rose for Emily" |
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513 | (8) |
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521 | (8) |
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A Rose for "A Rose for Emily" |
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529 | (7) |
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Of Time and Its Mathematical Progression: Problems of Chronology in Faulkner's "A Rose for Emily" |
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536 | (7) |
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STUDENT WRITING: "One of us...": Concepts of the Private and the Public in William Faulkner's "A Rose for Emily" |
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543 | (5) |
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548 | (50) |
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548 | (19) |
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STUDENT WRITING: Why "The Most Dangerous Game" Is Good Literature |
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564 | (1) |
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STUDENT WRITING: Why "The Most Dangerous Game" Is Not Good Literature |
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565 | (2) |
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567 | (16) |
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583 | (15) |
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598 | (196) |
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598 | (14) |
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612 | (18) |
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630 | (12) |
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642 | (20) |
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Without Benefit of Clergy |
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662 | (16) |
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678 | (15) |
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693 | (14) |
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The Lady with the Pet Dog |
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707 | (13) |
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720 | (10) |
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730 | (11) |
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741 | (12) |
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753 | (12) |
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765 | (10) |
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775 | (8) |
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783 | (11) |
Poetry |
|
794 | (532) |
|
Poetry: Reading, Responding, Writing |
|
|
794 | (27) |
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795 | (6) |
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Elizabeth Barrett Browning |
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795 | (1) |
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796 | (1) |
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The River-Merchant's Wife: A Letter |
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797 | (2) |
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799 | (1) |
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800 | (1) |
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801 | (7) |
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801 | (1) |
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802 | (1) |
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803 | (2) |
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|
Fifth Grade Autobiography |
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805 | (1) |
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806 | (2) |
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|
808 | (2) |
|
PRACTICING READING: SOME POEMS ON LOVE |
|
|
810 | (11) |
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|
To My Dear and Loving Husband |
|
|
810 | (1) |
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|
[Shall I compare thee to a summer's day?] |
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810 | (1) |
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811 | (1) |
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811 | (1) |
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[Stop all the clocks, cut off the telephone] |
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812 | (1) |
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812 | (1) |
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813 | (1) |
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814 | (1) |
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814 | (1) |
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[Why should a foolish marriage vow] |
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815 | (1) |
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815 | (1) |
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816 | (1) |
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[What lips my lips have kissed, and where, and why] |
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817 | (1) |
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817 | (1) |
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818 | (1) |
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On Her Loving Two Equally |
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|
818 | (1) |
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|
[Let me not to the marriage of true minds] |
|
|
819 | (1) |
|
QUESTIONS/WRITING SUGGESTIONS |
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|
819 | (2) |
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|
821 | (244) |
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|
821 | (25) |
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821 | (1) |
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822 | (2) |
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824 | (2) |
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|
Hard Rock Returns to Prison from the Hospital for the Criminal Insane |
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|
826 | (1) |
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827 | (2) |
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829 | (1) |
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829 | (3) |
|
MANY TONES: POEMS ABOUT FAMILY RELATIONSHIPS |
|
|
832 | (12) |
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After Making Love We Hear Footsteps |
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832 | (1) |
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832 | (1) |
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833 | (1) |
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834 | (1) |
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835 | (1) |
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835 | (2) |
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837 | (1) |
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838 | (1) |
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839 | (1) |
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840 | (1) |
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Because of My Father's Job |
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840 | (1) |
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841 | (1) |
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842 | (1) |
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843 | (1) |
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844 | (1) |
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QUESTIONS/WRITING SUGGESTIONS |
|
|
844 | (2) |
|
14 SPEAKER: WHOSE VOICE DO WE HEAR? |
|
|
846 | (24) |
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846 | (2) |
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|
In a Prominent Bar in Secaucus One Day |
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|
848 | (1) |
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849 | (3) |
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|
Soliloquy of the Spanish Cloister |
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|
852 | (2) |
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854 | (1) |
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855 | (2) |
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857 | (1) |
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|
She Dwelt among the Untrodden Ways |
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858 | (1) |
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859 | (1) |
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860 | (1) |
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860 | (1) |
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861 | (1) |
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Lessons of the War: Judging Distances |
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862 | (1) |
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863 | (1) |
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864 | (1) |
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[I celebrate myself, and sing myself] |
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864 | (1) |
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865 | (1) |
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865 | (1) |
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866 | (1) |
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867 | (1) |
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|
Death of a Young Son by Drowning |
|
|
868 | (1) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
869 | (1) |
|
15 SITUATION AND SETTING: WHAT HAPPENS? WHERE? WHEN? |
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|
870 | (44) |
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871 | (3) |
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874 | (1) |
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875 | (1) |
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To a Daughter Leaving Home |
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876 | (1) |
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|
On the Late Massacre in Piedmont |
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877 | (2) |
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879 | (2) |
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881 | (2) |
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883 | (8) |
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883 | (1) |
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884 | (1) |
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885 | (1) |
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886 | (1) |
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A Mongoloid Child Handling Shells on the Beach |
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886 | (1) |
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887 | (1) |
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887 | (1) |
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888 | (1) |
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889 | (2) |
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891 | (7) |
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[Full many a glorious morning have I seen] |
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891 | (1) |
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891 | (1) |
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892 | (1) |
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A Description of the Morning |
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892 | (1) |
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893 | (1) |
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894 | (1) |
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As I Walked Out One Evening |
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894 | (2) |
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896 | (1) |
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896 | (2) |
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898 | (6) |
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|
Praise Psalm of the City-Dweller |
|
|
898 | (1) |
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898 | (1) |
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I Am Not a Conspiracy Everything Is Not Paranoid The Drug Enforcement Administration Is Not Everywhere |
|
|
899 | (1) |
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|
Elegy Written in a Country Churchyard |
|
|
900 | (4) |
|
COMPARING PLACES AND TIMES: THE SENSE OF CULTURAL OTHERNESS |
|
|
904 | (6) |
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|
Grandmother, a Caribbean Indian, Described by My Father |
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|
904 | (1) |
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905 | (1) |
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906 | (1) |
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906 | (2) |
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|
We Are Americans Now, We Live in the Tundra |
|
|
908 | (1) |
|
Chitra Banerjee Divakaruni |
|
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|
908 | (2) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
910 | (1) |
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|
STUDENT WRITING: A Letter to an Author |
|
|
911 | (3) |
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|
914 | (52) |
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|
914 | (23) |
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|
[The golf links lie so near the mill] |
|
|
914 | (1) |
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|
Countess of Winchelsea, There's No To-Morrow |
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|
915 | (1) |
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915 | (2) |
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At the San Francisco Airport |
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917 | (2) |
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919 | (1) |
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920 | (1) |
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921 | (1) |
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922 | (2) |
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|
[After great pain, a formal feeling comes-] |
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924 | (1) |
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924 | (2) |
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926 | (1) |
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927 | (1) |
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927 | (1) |
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928 | (1) |
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928 | (1) |
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929 | (2) |
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931 | (1) |
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931 | (1) |
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|
Reflections on Ice-Breaking |
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|
932 | (1) |
|
Here Usually Comes the Bride |
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|
932 | (1) |
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|
[I dwell in Possibility-] |
|
|
932 | (1) |
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|
933 | (4) |
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|
937 | (14) |
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|
[That time of year thou mayst in me behold] |
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|
937 | (2) |
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939 | (1) |
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940 | (1) |
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941 | (1) |
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|
942 | (2) |
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|
944 | (1) |
|
1. [Sex, as they harshly call it] |
|
|
944 | (1) |
|
2. [That "old last act"!] |
|
|
944 | (1) |
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|
|
The Death of the Ball Turret Gunner |
|
|
945 | (1) |
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|
946 | (1) |
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|
947 | (1) |
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|
947 | (1) |
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|
[Wild Nights-Wild Nights!] |
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|
948 | (1) |
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|
948 | (1) |
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|
949 | (1) |
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|
[Batter my heart, three-personed God; for You] |
|
|
950 | (1) |
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|
950 | (1) |
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|
951 | (13) |
|
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|
Leningrad Cemetery, Winter of 1941 |
|
|
951 | (2) |
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953 | (2) |
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955 | (2) |
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957 | (1) |
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958 | (1) |
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|
[Virgins are like the fair flower in its luster] |
|
|
959 | (1) |
|
|
|
|
|
[Go not too near a House of Rose-] |
|
|
959 | (1) |
|
|
|
|
|
|
959 | (1) |
|
|
|
|
|
|
960 | (1) |
|
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|
|
|
Now Sleeps the Crimson Petal |
|
|
961 | (1) |
|
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|
961 | (1) |
|
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|
|
|
|
962 | (1) |
|
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|
|
962 | (1) |
|
|
|
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|
|
962 | (1) |
|
|
|
|
|
|
963 | (1) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
964 | (2) |
|
|
966 | (24) |
|
|
|
|
|
|
966 | (1) |
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|
967 | (2) |
|
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|
969 | (2) |
|
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|
971 | (2) |
|
|
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|
|
973 | (1) |
|
|
|
|
|
|
974 | (1) |
|
|
|
|
|
[There was a young lady of Riga] |
|
|
974 | (1) |
|
|
|
|
|
|
974 | (1) |
|
|
|
|
|
To the Memory of Mr. Oldham |
|
|
975 | (1) |
|
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|
976 | (1) |
|
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977 | (1) |
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978 | (1) |
|
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979 | (1) |
|
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|
|
979 | (1) |
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|
|
[Like as the waves make towards the pebbled shore] |
|
|
980 | (1) |
|
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|
|
|
980 | (1) |
|
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|
|
981 | (1) |
|
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|
|
|
A Litany in Time of Plague |
|
|
981 | (1) |
|
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|
982 | (1) |
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|
983 | (1) |
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|
984 | (2) |
|
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|
|
986 | (1) |
|
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|
|
[A narrow Fellow in the Grass] |
|
|
987 | (1) |
|
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|
|
|
To the Virgins, to Make Much of Time |
|
|
988 | (1) |
|
|
|
|
|
|
988 | (1) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
988 | (2) |
|
|
990 | (25) |
|
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990 | (3) |
|
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993 | (2) |
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|
995 | (3) |
|
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|
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998 | (1) |
|
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|
|
|
Arrangements with Earth for Three Dead Friends |
|
|
998 | (2) |
|
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|
1000 | (2) |
|
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1002 | (1) |
|
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1003 | (1) |
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1004 | (1) |
|
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1005 | (1) |
|
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|
|
[The Wind begun to knead the Grass-] |
|
|
1006 | (1) |
|
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|
1007 | (1) |
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|
1008 | (1) |
|
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|
|
1008 | (2) |
|
|
|
|
|
Evening in the Sanitarium |
|
|
1010 | (1) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1011 | (1) |
|
STUDENT WRITING: Structure and Language in "The Victims" |
|
|
1012 | (3) |
|
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|
|
1015 | (32) |
|
|
1018 | (14) |
|
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|
|
1018 | (1) |
|
|
|
|
|
[My lady's presence makes the roses red] |
|
|
1019 | (2) |
|
|
|
|
|
|
1021 | (1) |
|
|
|
|
|
A Sonnet Is a Moment's Monument |
|
|
1021 | (1) |
|
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|
|
1022 | (1) |
|
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|
|
1022 | (1) |
|
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|
1023 | (1) |
|
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|
|
|
Joy Sonnet in a Random Universe |
|
|
1023 | (1) |
|
|
|
|
|
|
1024 | (1) |
|
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|
|
[When I consider how my light is spent] |
|
|
1024 | (1) |
|
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|
|
1025 | (1) |
|
|
|
|
|
Sonnet to a Negro in Harlem |
|
|
1025 | (1) |
|
|
|
|
|
The world is too much with us |
|
|
1026 | (1) |
|
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|
1026 | (1) |
|
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|
|
1027 | (1) |
|
Sir Charles G. D. Roberts |
|
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|
|
1027 | (1) |
|
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|
|
1028 | (1) |
|
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|
|
First Fight. Then Fiddle. |
|
|
1028 | (1) |
|
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|
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1029 | (1) |
|
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|
|
1029 | (1) |
|
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|
|
|
[When Nature made her chief work, Stella's eyes] |
|
|
1030 | (1) |
|
|
|
|
|
[My mistress' eyes are nothing like the sun] |
|
|
1030 | (1) |
|
|
|
|
|
Sweep Me through Your Many-Chambered Heart |
|
|
1031 | (1) |
|
|
1032 | (6) |
|
|
|
|
|
Do Not Go Gentle into That Good Night |
|
|
1033 | (1) |
|
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|
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|
|
1033 | (1) |
|
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|
|
|
1034 | (1) |
|
|
|
|
|
beware : do not read this poem |
|
|
1035 | (2) |
|
|
|
|
|
|
1037 | (1) |
|
|
1038 | (7) |
|
|
|
|
|
Composed in the Composing Room |
|
|
1038 | (1) |
|
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|
|
1039 | (1) |
|
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|
|
1040 | (1) |
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1041 | (1) |
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1041 | (1) |
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|
1042 | (1) |
|
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|
|
1043 | (1) |
|
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|
|
1043 | (1) |
|
|
|
|
|
|
1044 | (1) |
|
|
|
|
|
|
1044 | (1) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1045 | (2) |
|
|
1047 | (18) |
|
|
|
|
|
|
1047 | (1) |
|
|
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|
|
|
1049 | (1) |
|
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|
|
1050 | (2) |
|
|
|
|
|
|
1052 | (1) |
|
|
|
|
|
|
1053 | (1) |
|
|
|
|
|
[My Life had stood-a Loaded Gun-] |
|
|
1054 | (1) |
|
|
|
|
|
|
1054 | (1) |
|
|
|
|
|
|
1055 | (1) |
|
|
|
|
|
|
1055 | (1) |
|
|
|
|
|
A Description of a City Shower |
|
|
1056 | (1) |
|
|
|
|
|
The Author's Epitaph, Made by Himself |
|
|
1057 | (1) |
|
|
|
|
|
With Mercy for the Greedy |
|
|
1058 | (1) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1059 | (1) |
|
|
|
|
|
STUDENT WRITING: Tragedy in Five Stanzas: "Woodchucks" |
|
|
1060 | (5) |
|
|
1065 | (171) |
|
21. THE AUTHOR'S WORK AS CONTEXT: JOHN KEATS |
|
|
1065 | (16) |
|
On First Looking into Chapman's Homer |
|
|
1067 | (1) |
|
On the Grasshopper and the Cricket |
|
|
1068 | (1) |
|
On Seeing the Elgin Marbles |
|
|
1068 | (1) |
|
|
1068 | (1) |
|
|
1069 | (2) |
|
|
1071 | (2) |
|
|
1073 | (1) |
|
|
1074 | (1) |
|
Passages from Letters and the Preface to Endymion |
|
|
1075 | (5) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1080 | (1) |
|
22 THE AUTHOR'S WORK IN CONTEXT: ADRIENNE RICH |
|
|
1081 | (24) |
|
|
1082 | (1) |
|
|
1083 | (1) |
|
|
1083 | (1) |
|
Snapshots of a Daughter-in-Law |
|
|
1084 | (4) |
|
|
1088 | (1) |
|
|
1089 | (1) |
|
|
1090 | (2) |
|
|
1092 | (1) |
|
|
1092 | (1) |
|
[My mouth hovers across your breasts] |
|
|
1093 | (1) |
|
|
1094 | (1) |
|
|
1094 | (1) |
|
|
1095 | (1) |
|
From Interviews and Personal Reflections |
|
|
1096 | (8) |
|
QUESTION/WRITING SUGGESTIONS |
|
|
1104 | (1) |
|
23 LITERARY TRADITION AS CONTEXT |
|
|
1105 | (47) |
|
|
1106 | (7) |
|
|
|
|
|
|
1107 | (1) |
|
|
|
|
|
|
1108 | (1) |
|
|
|
|
|
|
1108 | (2) |
|
|
|
|
|
|
1110 | (1) |
|
|
|
|
|
You Too? Me Too-Why Not? Soda Pop |
|
|
1111 | (1) |
|
|
|
|
|
[Not marble, nor the gilded monuments] |
|
|
1112 | (1) |
|
|
1113 | (2) |
|
|
|
|
|
The Passionate Shepherd to His Love |
|
|
1113 | (2) |
|
|
1115 | (5) |
|
|
|
|
|
|
1116 | (1) |
|
|
|
|
|
Epitaph on Elizabeth, L. H. |
|
|
1116 | (1) |
|
|
|
|
|
[You've told me, Maro, whilst you live] |
|
|
1116 | (1) |
|
|
|
|
|
|
1117 | (1) |
|
|
|
|
|
An Epitaph upon a Young Married Couple, Dead and Buried Together |
|
|
1117 | (1) |
|
|
|
|
|
Epitaph for a Postal Clerk |
|
|
1118 | (1) |
|
|
|
|
|
|
1118 | (1) |
|
|
|
|
|
To Novella, on her saying deridingly, that a Lady of great Merit, and fine Address, was bred in the Old Way. |
|
|
1118 | (1) |
|
|
|
|
|
|
1118 | (1) |
|
|
|
|
|
|
1119 | (1) |
|
|
1120 | (8) |
|
|
|
|
|
|
1120 | (2) |
|
|
1122 | (1) |
|
[A village without bells-] |
|
|
1122 | (1) |
|
|
1122 | (1) |
|
|
1122 | (1) |
|
|
1122 | (1) |
|
|
1122 | (1) |
|
|
1122 | (1) |
|
|
1123 | (1) |
|
|
1123 | (1) |
|
[The moon and the flowers] |
|
|
1123 | (1) |
|
|
1123 | (1) |
|
|
1123 | (1) |
|
|
1123 | (1) |
|
|
|
|
|
|
1124 | (1) |
|
|
|
|
|
|
1124 | (1) |
|
|
|
|
|
|
1124 | (1) |
|
|
|
|
|
[Come! Come! Though I call] |
|
|
1124 | (1) |
|
|
|
|
|
|
1125 | (1) |
|
|
|
|
|
[An old-time pond, from off whose shadowed depth] |
|
|
1125 | (1) |
|
|
|
|
|
|
1125 | (1) |
|
|
|
|
|
|
1125 | (1) |
|
|
|
|
|
|
1126 | (1) |
|
|
|
|
|
[The old pond-a frog jumps in, kerplunk!] |
|
|
1126 | (1) |
|
|
|
|
|
|
1126 | (1) |
|
|
|
|
|
|
1126 | (1) |
|
|
|
|
|
|
1127 | (1) |
|
|
|
|
|
[Looking over my shoulder] |
|
|
1127 | (1) |
|
|
|
|
|
|
1127 | (1) |
|
|
1128 | (7) |
|
|
|
|
|
The Nymph's Reply to the Shepherd |
|
|
1128 | (1) |
|
|
|
|
|
|
1129 | (1) |
|
|
|
|
|
[(ponder, darling, these busted statues] |
|
|
1130 | (1) |
|
|
|
|
|
To His Importunate Mistress |
|
|
1131 | (1) |
|
|
|
|
|
|
1132 | (1) |
|
|
|
|
|
Variations on a Theme by William Carlos Williams |
|
|
1132 | (1) |
|
|
|
|
|
Ode on a Grecian Urn Summarized |
|
|
1133 | (1) |
|
|
|
|
|
|
1133 | (1) |
|
|
|
|
|
[Not only marble, but the plastic toys] |
|
|
1134 | (1) |
|
CULTURAL BELIEF AND TRADITION |
|
|
1135 | (15) |
|
|
|
|
|
|
1136 | (1) |
|
|
|
|
|
|
1136 | (1) |
|
|
|
|
|
|
1137 | (2) |
|
|
|
|
|
|
1139 | (2) |
|
|
|
|
|
|
1141 | (1) |
|
|
|
|
|
|
1142 | (1) |
|
|
|
|
|
The Negro Speaks of Rivers |
|
|
1143 | (1) |
|
|
|
|
|
Something Like a Sonnet for Phillis Miracle Wheatley |
|
|
1143 | (1) |
|
|
|
|
|
|
1144 | (1) |
|
|
|
|
|
|
1144 | (1) |
|
|
|
|
|
I Am a Cowboy in the Boat of Ra |
|
|
1145 | (2) |
|
|
|
|
|
|
1147 | (1) |
|
|
|
|
|
|
1148 | (1) |
|
|
|
|
|
|
1149 | (1) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1150 | (2) |
|
24 HISTORICAL AND CULTURAL CONTEXTS |
|
|
1152 | (40) |
|
|
|
|
|
|
1153 | (1) |
|
|
|
|
|
|
1154 | (1) |
|
|
|
|
|
Sonnet: The Ladies' Home Journal |
|
|
1155 | (4) |
|
TIMES, PLACES, AND EVENTS |
|
|
1159 | (12) |
|
|
|
|
|
Thinking about Bill, Dead of AIDS |
|
|
1159 | (1) |
|
|
|
|
|
|
1159 | (1) |
|
|
|
|
|
|
1160 | (1) |
|
|
|
|
|
Notes for a Poem on Being Asian American |
|
|
1161 | (1) |
|
|
|
|
|
Children Walking Home from School through Good Neighborhood |
|
|
1162 | (1) |
|
|
|
|
|
|
1163 | (1) |
|
|
|
|
|
Harlem (A Dream Deferred) |
|
|
1163 | (1) |
|
|
|
|
|
|
1164 | (1) |
|
|
|
|
|
|
1164 | (1) |
|
|
|
|
|
The Convergence of the Twain |
|
|
1165 | (1) |
|
|
|
|
|
|
1166 | (1) |
|
|
|
|
|
The Fury of Aerial Bombardment |
|
|
1167 | (1) |
|
|
|
|
|
|
1168 | (1) |
|
|
|
|
|
|
1168 | (1) |
|
Ai, Riot Act, April 29, 1992 |
|
|
1169 | (2) |
|
CONSTRUCTING IDENTITY, EXPLORING GENDER |
|
|
1171 | (20) |
|
|
|
|
|
|
1171 | (1) |
|
|
|
|
|
Song: To Lucasta, Going to the Wars |
|
|
1172 | (1) |
|
|
|
|
|
Break of Day in the Trenches |
|
|
1173 | (1) |
|
|
|
|
|
The Things That Make a Soldier Great |
|
|
1173 | (1) |
|
|
|
|
|
|
1174 | (1) |
|
|
|
|
|
|
1175 | (1) |
|
|
|
|
|
What's That Smell in the Kitchen? |
|
|
1176 | (1) |
|
|
|
|
|
|
1176 | (1) |
|
|
|
|
|
When I Was Fair and Young |
|
|
1177 | (1) |
|
|
|
|
|
|
1177 | (1) |
|
|
|
|
|
|
1178 | (1) |
|
|
|
|
|
|
1178 | (1) |
|
|
|
|
|
L'amitie: To Mrs. M. Awbrey |
|
|
1179 | (1) |
|
|
|
|
|
|
1180 | (1) |
|
|
|
|
|
[Women have loved before as I love now] |
|
|
1181 | (1) |
|
|
|
|
|
To the Fair Clarinda, Who Made Love to Me, Imagined More Than Woman |
|
|
1181 | (1) |
|
|
|
|
|
|
1182 | (1) |
|
|
|
|
|
|
1183 | (1) |
|
|
|
|
|
|
1183 | (1) |
|
|
|
|
|
|
1184 | (1) |
|
|
|
|
|
|
1185 | (1) |
|
|
|
|
|
|
1186 | (1) |
|
|
|
|
|
[Who would divorce her lover...] |
|
|
1187 | (1) |
|
|
|
|
|
|
1188 | (1) |
|
|
|
|
|
|
1188 | (1) |
|
|
|
|
|
[I, being born a woman and distressed] |
|
|
1190 | (1) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1191 | (1) |
|
25 CRITICAL CONTEXTS: A POETRY CASEBOOK |
|
|
1192 | (32) |
|
|
|
|
|
|
1194 | (3) |
|
|
|
|
|
|
1197 | (3) |
|
|
|
|
|
The Plath Celebration: A Partial Dissent |
|
|
1200 | (2) |
|
|
|
|
|
|
1202 | (2) |
|
|
|
|
|
Rituals of Exorcism: "Daddy" |
|
|
1204 | (3) |
|
|
|
|
|
|
1207 | (3) |
|
|
|
|
|
From A Feminine Tradition |
|
|
1210 | (2) |
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FROM A Disturbance in Mirrors |
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1212 | (3) |
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1215 | (9) |
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26 THE PROCESS OF CREATION |
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1224 | (12) |
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Love Calls Us to the Things of This World |
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1225 | (2) |
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1227 | (1) |
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[Bright star! would I were stedfast as thou art!] |
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1227 | (1) |
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1228 | (1) |
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1229 | (2) |
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[O where ha' you been, Lord Randal, my son?] |
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1231 | (1) |
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1232 | (1) |
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[Safe in their Alabaster Chambers-] |
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1233 | (1) |
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1233 | (3) |
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1236 | (14) |
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[Th' expense of spirit in a waste of shame] |
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1239 | (2) |
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1241 | (2) |
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1243 | (1) |
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1243 | (1) |
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1244 | (1) |
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[The Brain-is wider than the Sky-] |
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1244 | (1) |
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1245 | (1) |
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1245 | (1) |
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1246 | (1) |
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Bells for John Whiteside's Daughter |
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1247 | (1) |
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1248 | (1) |
|
QUESTIONS/WRITING SUGGESTIONS |
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1248 | (2) |
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1250 | (76) |
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1250 | (2) |
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1252 | (1) |
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1252 | (1) |
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1252 | (1) |
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Kubla Khan: or, a Vision in a Dream |
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1253 | (1) |
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1254 | (1) |
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1254 | (1) |
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1255 | (1) |
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1255 | (1) |
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1255 | (1) |
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1255 | (1) |
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1256 | (2) |
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[Because I could not stop for Death-] |
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1256 | (1) |
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[I reckon-when I count at all-] |
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1257 | (1) |
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[My life closed twice before its close-] |
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1257 | (1) |
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[We do not play on Graves-] |
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1257 | (1) |
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[She dealt her pretty words like Blades-] |
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1258 | (1) |
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1258 | (3) |
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1258 | (1) |
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[Death be not proud, though some have called thee] |
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1259 | (1) |
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A Valediction: Forbidding Mourning |
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1260 | (1) |
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1261 | (1) |
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1261 | (1) |
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1261 | (1) |
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The Love Song of J. Alfred Prufrock |
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1262 | (4) |
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1266 | (1) |
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1266 | (1) |
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|
1266 | (1) |
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Stopping by Woods on a Snowy Evening |
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1267 | (1) |
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1267 | (2) |
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A Supermarket in California |
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1267 | (1) |
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1268 | (1) |
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1269 | (1) |
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1269 | (1) |
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1269 | (1) |
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The Summer of Lost Rachel |
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1270 | (1) |
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1271 | (1) |
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1271 | (1) |
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1272 | (1) |
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1272 | (1) |
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1273 | (1) |
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To Amarantha, That She Would Dishevel Her Hair |
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1274 | (1) |
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1275 | (1) |
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1276 | (4) |
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1276 | (2) |
|
The Mower, against Gardens |
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1278 | (1) |
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1279 | (1) |
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1280 | (5) |
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1285 | (1) |
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King Kong Meets Wallace Stevens |
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1286 | (1) |
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1287 | (1) |
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|
1287 | (3) |
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Black Rook in Rainy Weather |
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|
1287 | (1) |
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1288 | (2) |
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1290 | (1) |
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|
1290 | (1) |
|
In a Station of the Metro |
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1291 | (1) |
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1291 | (1) |
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1291 | (1) |
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|
1292 | (1) |
|
Reading Time : 1 Minute 26 Seconds |
|
|
1292 | (1) |
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|
1293 | (1) |
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|
1293 | (2) |
|
[Hark, hark! the lark at heaven's gate sings] |
|
|
1293 | (1) |
|
[Two loves I have of comfort and despair] |
|
|
1294 | (1) |
|
[They that have power to hurt and will do none] |
|
|
1294 | (1) |
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|
1294 | (1) |
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|
1295 | (5) |
|
The Idea of Order at Key West |
|
|
1295 | (1) |
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1296 | (1) |
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|
1297 | (3) |
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|
1300 | (1) |
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1301 | (2) |
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|
1301 | (1) |
|
In My Craft or Sullen Art |
|
|
1302 | (1) |
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|
1303 | (1) |
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|
1303 | (8) |
|
Facing West from California's Shores |
|
|
1303 | (1) |
|
|
1304 | (1) |
|
A Noiseless Patient Spider |
|
|
1304 | (1) |
|
When Lilacs Last in the Dooryard Bloomed |
|
|
1305 | (6) |
|
|
1311 | (2) |
|
|
1311 | (1) |
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1312 | (1) |
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|
1312 | (1) |
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|
1313 | (1) |
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|
Lines Composed a Few Miles above Tintern Abbey on Revisiting the Banks of the Wye during a Tour, July 13, 1798 |
|
|
1313 | (4) |
|
|
1317 | (9) |
|
|
1317 | (2) |
|
|
1319 | (1) |
|
|
1320 | (1) |
|
|
1320 | (1) |
|
|
1321 | (2) |
|
|
1323 | (3) |
Drama |
|
1326 | |
|
Drama: Reading, Responding, Writing |
|
|
1326 | (27) |
|
|
|
|
|
|
1329 | (11) |
|
|
|
|
|
|
1340 | (9) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1349 | (1) |
|
|
|
|
|
|
1350 | (3) |
|
|
1353 | (298) |
|
|
1353 | (3) |
|
|
1356 | (1) |
|
STAGES, SETS, AND SETTING |
|
|
1357 | (3) |
|
|
1360 | (1) |
|
|
1361 | (1) |
|
|
|
|
|
|
1362 | (50) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1412 | (2) |
|
|
|
|
|
|
1414 | (73) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1487 | (2) |
|
|
|
|
|
|
1489 | (57) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1546 | (2) |
|
|
|
|
|
|
1548 | (98) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1646 | (2) |
|
|
|
|
|
STUDENT WRITING: The Play's the Thing: Deception in Hamlet |
|
|
1648 | (3) |
|
|
1651 | (351) |
|
27 THE AUTHOR'S WORK AS CONTEXT: ANTON CHEKHOV |
|
|
1651 | (60) |
|
|
1656 | (11) |
|
On the Injurious Effects of Tobacco |
|
|
1667 | (3) |
|
|
1670 | (38) |
|
|
1708 | (2) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1710 | (1) |
|
28 LITERARY CONTEXT: TRAGEDY AND COMEDY |
|
|
1711 | (90) |
|
|
|
|
|
|
1714 | (40) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1754 | (1) |
|
|
|
|
|
The Importance of Being Earnest |
|
|
1755 | (45) |
|
QUESTIONS/WRITING SUGGESTIONS |
|
|
1800 | (1) |
|
29 CULTURE AS CONTEXT: SOCIAL AND HISTORICAL SETTING |
|
|
1801 | (144) |
|
|
|
|
|
|
1805 | (65) |
|
|
|
|
|
|
1870 | (72) |
|
|
|
|
|
STUDENT WRITING: Dream of a Salesman |
|
|
1942 | (3) |
|
30 CRITICAL CONTEXTS: A DRAMA CASEBOOK |
|
|
1945 | (57) |
|
|
|
|
|
|
1948 | (32) |
|
|
|
|
|
FROM The Antigone of Sophocles |
|
|
1980 | (2) |
|
|
|
|
|
|
1982 | (2) |
|
|
|
|
|
Introduction to Sophocles: The Three Theban Plays |
|
|
1984 | (5) |
|
|
|
|
|
|
1989 | (5) |
|
|
|
|
|
FROM The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy |
|
|
1994 | (4) |
|
|
|
|
|
FROM Prophesying Tragedy: Sign and Voice in Sophocles' Theban Plays |
|
|
1998 | (2) |
|
|
|
|
|
FROM Helping Friends and Harming Enemies: A Study in Sophocles and Greek Ethics |
|
|
2000 | (2) |
|
|
2002 | |
|
|
|
|
|
|
2008 | (68) |
|
|
|
|
|
A Midsummer Night's Dream |
|
|
2076 | |
Appendices Writing about Literature |
|
A3 | (54) |
INTRODUCTION |
|
A5 | (1) |
REPRESENTING THE LITERARY TEXT |
|
A6 | (3) |
REPLYING TO THE TEXT |
|
A9 | (3) |
EXPLAINING THE TEXT |
|
A12 | (8) |
CRITICAL APPROACHES |
|
A20 | (10) |
WRITING ABOUT FICTION, POETRY, DRAMA |
|
A30 | (6) |
DECIDING WHAT TO WRITE ABOUT |
|
A36 | (4) |
FROM TOPIC TO ROUGH DRAFT |
|
A40 | (5) |
FROM ROUGH DRAFT TO COMPLETED PAPER |
|
A45 | (9) |
A SUMMARY OF THE PROCESS |
|
A54 | (3) |
Glossary |
|
A57 | (10) |
Biographical Sketches |
|
A67 | (40) |
Acknowledgments |
|
A107 | (16) |
Index of Authors |
|
A123 | (12) |
Index of Titles and First Lines |
|
A135 | |