The Literary Experience （2 Compact）

Beiderwell, Bruce/ Wheeler, Jeffrey M.

Wadsworth Pub Co（2015/05発売）

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製本 Paperback:紙装版/ペーパーバック版／ページ数 1600 p.
言語 ENG
商品コード 9780840030764
DDC分類 820.8

Full Description

Organized around the elements of literature common to all genres, The Literary Experience, Compact Edition allows classes to focus on the real interpretive questions students ask of any text. A single chapter on symbolism, for example, includes discussion of symbols in poems, stories, and plays.

Preface. Part I. 1. Introduction. Critical Writing As Conversation. Critical Writing As An Extension Of Reading. Langston Hughes, Harlem. The Elements Of Literature. How Can A Specialized Vocabulary Enrich Our Experience Of Literature? Developing A Flexible Critical Vocabulary. 2. Writing As Process. How Can I Begin To Shape In Writing My Response To A Literary Text? Getting Started: What Can I Do To Break The Ice? Crafting A First Full Draft: What Do I Need To Do To Complete A Strong Draft? Defining A Topic. Marge Piercy, A Work Of Artifice. Developing Ideas. Revising The Draft: What Do Teachers Want To See In The Finished Paper? Clarify The Structure. Polish The Surface. 3. An Orientation To Research. How Do We Use Sources? How Do We Find Them? What Material Do We Document? How Do We Use Sources? How To Find Sources. Giving Appropriate Credit: The Issue Of Plagiarism. Neal Bowers, Tenth Year Elegy. David Jones, Tenth Year Elegy (Plagiarized). Integrating Sources Into Our Writing: What Do We Document? Quotation, Paraphrase, And Summary. Distinct Insights And Common Observations. Common Knowledge. How To Cite. Parenthetical Note Form. The Works Cited Page. Part II: THE LITERARY ELEMENTS. 1. Genre. How Do Our Expectations Impact Our Literary Experience? How Are Those Expectations Formed? Conventions. Mrs. J.H. Riddell, From Nut Bush Farm. William Shakespeare, From Macbeth. Disruptions. Mark Twain, Ode To Stephen Dowling Bots, Dec'd. Modeling Critical Analysis: Tom Stoppard, Fifteen Minute Hamlet. Anthology: Horror. Anthony Lane, Review Of Halloween H2o (From The New Yorker). Michael Chabon, In The Black Mill. George R.R. Martin, Sandkings. Charlotte Perkins Gilman, The Yellow Wallpaper. Robert Browning, "Porphyria's Lover." Carolyn Forche. The Colonel. Joyce Carol Oates, Too Young To Marry But Not Too Young To Die. Ted Hughes, Lovesong. William Butler Yeats, Leda And The Swan. Linda Pastan, Ethics. Jane Kenyon, Reading Aloud To My Father. Christina Rossetti, Goblin Market. Christopher Marlowe, Doctor Faustus. 2. Scene, Episode, And Plot. What Happened And Why Do We Care? Storytelling and Critical Analysis. Sharon Olds, the Possessive. Elements of Plot: Incident, Scene, and Sequence. Robert Pinsky, Poem with Lines in Any Order. Wislawa Szymborska, Abc. Truncation of Plot: Episode, Impression, and Fragment. Stephen Crane, an Episode of War. Momentum of Plot: Tension, Release, Rising Action, Climax, And Resolution. Variations on Plot Form: Multiple and Reflexive Plots. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Detective. Michael Sragow, Review Of "Sherlock (Tv)"Preface. Part I. 1. Introduction. Critical Writing As Conversation. Critical Writing As An Extension Of Reading. Langston Hughes, Harlem. The Elements Of Literature. How Can A Specialized Vocabulary Enrich Our Experience Of Literature? Developing A Flexible Critical Vocabulary. 2. Writing As Process. How Can I Begin To Shape In Writing My Response To A Literary Text? Getting Started: What Can I Do To Break The Ice? Crafting A First Full Draft: What Do I Need To Do To Complete A Strong Draft? Defining A Topic. Marge Piercy, A Work Of Artifice. Developing Ideas. Revising The Draft: What Do Teachers Want To See In The Finished Paper? Clarify The Structure. Polish The Surface. 3. An Orientation To Research. How Do We Use Sources? How Do We Find Them? What Material Do We Document? How Do We Use Sources? How To Find Sources. Giving Appropriate Credit: The Issue Of Plagiarism. Neal Bowers, Tenth Year Elegy. David Jones, Tenth Year Elegy (Plagiarized). Integrating Sources Into Our Writing: What Do We Document? Quotation, Paraphrase, And Summary. Distinct Insights And Common Observations. Common Knowledge. How To Cite. Parenthetical Note Form. The Works Cited Page. Part II: THE LITERARY ELEMENTS. 1. Genre. How Do Our Expectations Impact Our Literary Experience? How Are Those Expectations Formed? Conventions. Mrs. J.H. Riddell, From Nut Bush Farm. William Shakespeare, From Macbeth. Disruptions. Mark Twain, Ode To Stephen Dowling Bots, Dec'd. Modeling Critical Analysis: Tom Stoppard, Fifteen Minute Hamlet. Anthology: Horror. Anthony Lane, Review Of Halloween H2o (From The New Yorker). Michael Chabon, In The Black Mill. George R.R. Martin, Sandkings. Charlotte Perkins Gilman, The Yellow Wallpaper. Robert Browning, "Porphyria's Lover." Carolyn Forche. The Colonel. Joyce Carol Oates, Too Young To Marry But Not Too Young To Die. Ted Hughes, Lovesong. William Butler Yeats, Leda And The Swan. Linda Pastan, Ethics. Jane Kenyon, Reading Aloud To My Father. Christina Rossetti, Goblin Market. Christopher Marlowe, Doctor Faustus. 2. Scene, Episode, And Plot. What Happened And Why Do We Care? Storytelling and Critical Analysis. Sharon Olds, the Possessive. Elements of Plot: Incident, Scene, and Sequence. Robert Pinsky, Poem with Lines in Any Order. Wislawa Szymborska, Abc. Truncation of Plot: Episode, Impression, and Fragment. Stephen Crane, an Episode of War. Momentum of Plot: Tension, Release, Rising Action, Climax, And Resolution. Variations on Plot Form: Multiple and Reflexive Plots. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Detective. Michael Sragow, Review Of "Sherlock (Tv)"Preface. Part I. 1. Introduction. Critical Writing As Conversation. Critical Writing As An Extension Of Reading. Langston Hughes, Harlem. The Elements Of Literature. How Can A Specialized Vocabulary Enrich Our Experience Of Literature? Developing A Flexible Critical Vocabulary. 2. Writing As Process. How Can I Begin To Shape In Writing My Response To A Literary Text? Getting Started: What Can I Do To Break The Ice? Crafting A First Full Draft: What Do I Need To Do To Complete A Strong Draft? Defining A Topic. Marge Piercy, A Work Of Artifice. Developing Ideas. Revising The Draft: What Do Teachers Want To See In The Finished Paper? Clarify The Structure. Polish The Surface. 3. An Orientation To Research. How Do We Use Sources? How Do We Find Them? What Material Do We Document? How Do We Use Sources? How To Find Sources. Giving Appropriate Credit: The Issue Of Plagiarism. Neal Bowers, Tenth Year Elegy. David Jones, Tenth Year Elegy (Plagiarized). Integrating Sources Into Our Writing: What Do We Document? Quotation, Paraphrase, And Summary. Distinct Insights And Common Observations. Common Knowledge. How To Cite. Parenthetical Note Form. The Works Cited Page. Part II: THE LITERARY ELEMENTS. 1. Genre. How Do Our Expectations Impact Our Literary Experience? How Are Those Expectations Formed? Conventions. Mrs. J.H. Riddell, From Nut Bush Farm. William Shakespeare, From Macbeth. Disruptions. Mark Twain, Ode To Stephen Dowling Bots, Dec'd. Modeling Critical Analysis: Tom Stoppard, Fifteen Minute Hamlet. Anthology: Horror. Anthony Lane, Review Of Halloween H2o (From The New Yorker). Michael Chabon, In The Black Mill. George R.R. Martin, Sandkings. Charlotte Perkins Gilman, The Yellow Wallpaper. Robert Browning, "Porphyria's Lover." Carolyn Forche. The Colonel. Joyce Carol Oates, Too Young To Marry But Not Too Young To Die. Ted Hughes, Lovesong. William Butler Yeats, Leda And The Swan. Linda Pastan, Ethics. Jane Kenyon, Reading Aloud To My Father. Christina Rossetti, Goblin Market. Christopher Marlowe, Doctor Faustus. 2. Scene, Episode, And Plot. What Happened And Why Do We Care? Storytelling and Critical Analysis. Sharon Olds, the Possessive. Elements of Plot: Incident, Scene, and Sequence. Robert Pinsky, Poem with Lines in Any Order. Wislawa Szymborska, Abc. Truncation of Plot: Episode, Impression, and Fragment. Stephen Crane, an Episode of War. Momentum of Plot: Tension, Release, Rising Action, Climax, And Resolution. Variations on Plot Form: Multiple and Reflexive Plots. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Detective. Michael Sragow, Review Of "Sherlock (Tv)" (From The New Yorker). Fiction Arthur Conan Doyle, A Scandal In Bohemia. Don Lee, The Price Of Eggs In China. Emily Dickinson, A Route of Evanescence (#1463). Emily Dickinson, I like to see it lap the miles (#585). A.E. Robinson, Richard Cory. Robert Frost, Stopping by Woods on a Snowy Evening. William Stafford, Traveling Through the Dark. Aron Keesbury, On the Robbery Across the Street. Kevin Young, The Set-up. Kevin Young, The Chase. Muriel Rukeyser, Myth. Sophocles, Oedipus the King (tr. George Young). 3. Character. Who Is Involved And Why Does It Matter? Building Character. Michael Chabon, from Kavalier and Clay. Presenting Character. Picturing Character. Rita Dove, Hattie McDaniel at the Coconut Grove. Feeling For Character. Cathy Song, Picture Bride. Robert Hayden, Those Winter Sundays. Character and Function. Judith Ortiz Cofer, My Father in the Navy. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Folklore. Manohla Dargis, review of Batman Begins (from The New York Times). Alice Munro, How I Met My Husband. Jhumpa Lahiri, This Blessed House. Alice Walker, Everyday Use. Eavan Boland, The Pomegranate. Robert Frost, Home Burial. Donald Hall, My Son, My Executioner. Seamus Heaney, Midterm Break. Audre Lorde, Now I am Forever with Child. Edgar Lee Masters, Elsa Wertman. Edgar Lee Masters, Hamilton Greene. Sylvia Plath, Daddy. Geoffrey Brock, Daddy: 1933. Gary Soto, Black Hair. Kitty Tsui, A Chinese Banquet. Michael Lassell, How to Watch Your Brother Die. Gwendolyn Brooks, Sadie and Maud. Sharon McCartney, After the Chuck Jones Tribute on Teletoon. Stephanie Brown, Feminine Intuition. 4. Point Of View. How Do We Know What We Know About What Happened?. Point of View. Dorothy Parker, Penelope. The Narrative Voice. Film Focus And Angles Henry Taylor, After a Movie. Reliable And Unreliable Narrators. Third Person Narrators. Charles Dickens, from A Christmas Carol. Ernest Hemingway, from Hills Like White Elephants. Wendell Berry, The Vacation. First Person Narrators. Shifting Perspectives. Stevie Smith, Not Waving but Drowning. Frank Gaspar, It Is the Nature of the Wing. Modeling Critical Analysis: Robert Browning, My Last Duchess. Anthology: Mythopoeia. Roger Ebert, review of ET (from The Chicago Sun Times). Anne Beatty, Janus. Ursula LeGuin, Wife's Story. Sylvia Plath, Mirror. William Carlos Williams, This Is Just to Say. Erica-Lynn Gambino, This Is Just to Say. Rodney Jones, Plea for Forgiveness. Edna St. Vincent Millay, Childhood is the Kingdom Where Nobody Dies. Adrienne Rich, Living in Sin. Elizabeth Bishop, The Fish. H. D., Helen. Larry Levis, Childhood Ideogram. Alice Walker, Women. Louis Simpson, Al and Beth. August Wilson, Joe Turner's Come and Gone. 5. Setting. Where And When Does The Action Take Place? Why Does It Make A Difference? Details Of Place And Time. Denise Levertov, February Evening in New York. Theodore Dreiser, from Sister Carrie. The Role of Physical Objects. Kazuo Ishiguro, from Remains of the Day. Imaginary Places. Modeling Critical Analysis: Robert Browning, My Last Duchess, Anthology: Dystopia. Laura Miller, commentary of The Hunger Games Trilogy (from The New Yorker). George Saunders, Escape from Spiderland. Salman Rushdie, The Courter. Ursula LeGuin, The Ones who Walk Away from Omelas. Samuel Taylor Coleridge, Kubla Khan. Edgar Allan Poe, The Raven. Dudley Randall, Ballad of Birmingham. Gary Soto, Braly Street. Gary Soto, Kearney Park. Chitra Banerjee Divakaruni, Indian Movie, New Jersey. Christina Rossetti, Cobwebs. Oscar Wilde, The Harlot's House. William Blake, London. Robert Frost, Birches. William Wordsworth. London, September 3, 1802 "O friend ..." Mary Ruefle, Middle School. Thomas Lux, The Swimming Pool. 6. Rhythm, Pace, and Rhyme. How Do Sounds Move? Filmic Rhythm. Poetic Rhythm. Herman Melville, The Maldive Shark. William Blake, The Nurse's Song. Stephen Crane, from A Bride Comes to Yellow Sky. The Rhythm of Pauses. Samuel Johnson, On the Death of Dr. Robert Levet. Ben Jonson, On My First Son. The Rhythm of Sounds. Alfred Lord Tennyson, The Lotus Eaters. Alexander Pope, from An Essay on Criticism. Randall Jarrell, The Death of the Ball Turret Gunner. Robert Frost, Fire and Ice. Modeling Critical Analysis: Robert Browning, My Last Duchess. Anthology: Farce. Penelope Gilliatt, review of The Pink Panther (from The New Yorker). James Baldwin, Sonny's Blues. Gabriel Garcia Marquez, The Very Old Man with Enormous Wings. Tope Folarin, Miracle. Ogden Nash, Kind of an Ode to Duty. Amiri Baraka, In Memory of Radio. Lawrence Ferlinghetti, Constantly Risking Absurdity. William Blake, The Chimney Sweeper (innocence). William Blake, Holy Thursday (innocence). William Blake, Holy Thursday (experience). William Blake, The Chimney Sweeper (experience). Gwendolyn Brooks, We Real Cool. Countee Cullen, Incident R.S. Gwynn, My Agent Says. Grace Paley, The Poet'Preface. Part I. 1. Introduction. Critical Writing As Conversation. Critical Writing As An Extension Of Reading. Langston Hughes, Harlem. The Elements Of Literature. How Can A Specialized Vocabulary Enrich Our Experience Of Literature? Developing A Flexible Critical Vocabulary. 2. Writing As Process. How Can I Begin To Shape In Writing My Response To A Literary Text? Getting Started: What Can I Do To Break The Ice? Crafting A First Full Draft: What Do I Need To Do To Complete A Strong Draft? Defining A Topic. Marge Piercy, A Work Of Artifice. Developing Ideas. Revising The Draft: What Do Teachers Want To See In The Finished Paper? Clarify The Structure. Polish The Surface. 3. An Orientation To Research. How Do We Use Sources? How Do We Find Them? What Material Do We Document? How Do We Use Sources? How To Find Sources. Giving Appropriate Credit: The Issue Of Plagiarism. Neal Bowers, Tenth Year Elegy. David Jones, Tenth Year Elegy (Plagiarized). Integrating Sources Into Our Writing: What Do We Document? Quotation, Paraphrase, And Summary. Distinct Insights And Common Observations. Common Knowledge. How To Cite. Parenthetical Note Form. The Works Cited Page. Part II: THE LITERARY ELEMENTS. 1. Genre. How Do Our Expectations Impact Our Literary Experience? How Are Those Expectations Formed? Conventions. Mrs. J.H. Riddell, From Nut Bush Farm. William Shakespeare, From Macbeth. Disruptions. Mark Twain, Ode To Stephen Dowling Bots, Dec'd. Modeling Critical Analysis: Tom Stoppard, Fifteen Minute Hamlet. Anthology: Horror. Anthony Lane, Review Of Halloween H2o (From The New Yorker). Michael Chabon, In The Black Mill. George R.R. Martin, Sandkings. Charlotte Perkins Gilman, The Yellow Wallpaper. Robert Browning, "Porphyria's Lover." Carolyn Forche. The Colonel. Joyce Carol Oates, Too Young To Marry But Not Too Young To Die. Ted Hughes, Lovesong. William Butler Yeats, Leda And The Swan. Linda Pastan, Ethics. Jane Kenyon, Reading Aloud To My Father. Christina Rossetti, Goblin Market. Christopher Marlowe, Doctor Faustus. 2. Scene, Episode, And Plot. What Happened And Why Do We Care? Storytelling and Critical Analysis. Sharon Olds, the Possessive. Elements of Plot: Incident, Scene, and Sequence. Robert Pinsky, Poem with Lines in Any Order. Wislawa Szymborska, Abc. Truncation of Plot: Episode, Impression, and Fragment. Stephen Crane, an Episode of War. Momentum of Plot: Tension, Release, Rising Action, Climax, And Resolution. Variations on Plot Form: Multiple and Reflexive Plots. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Detective. Michael Sragow, Review Of "Sherlock (Tv)" (From The New Yorker). Fiction Arthur Conan Doyle, A Scandal In Bohemia. Don Lee, The Price Of Eggs In China. Emily Dickinson, A Route of Evanescence (#1463). Emily Dickinson, I like to see it lap the miles (#585). A.E. Robinson, Richard Cory. Robert Frost, Stopping by Woods on a Snowy Evening. William Stafford, Traveling Through the Dark. Aron Keesbury, On the Robbery Across the Street. Kevin Young, The Set-up. Kevin Young, The Chase. Muriel Rukeyser, Myth. Sophocles, Oedipus the King (tr. George Young). 3. Character. Who Is Involved And Why Does It Matter? Building Character. Michael Chabon, from Kavalier and Clay. Presenting Character. Picturing Character. Rita Dove, Hattie McDaniel at the Coconut Grove. Feeling For Character. Cathy Song, Picture Bride. Robert Hayden, Those Winter Sundays. Character and Function. Judith Ortiz Cofer, My Father in the Navy. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Folklore. Manohla Dargis, review of Batman Begins (from The New York Times). Alice Munro, How I Met My Husband. Jhumpa Lahiri, This Blessed House. Alice Walker, Everyday Use. Eavan Boland, The Pomegranate. Robert Frost, Home Burial. Donald Hall, My Son, My Executioner. Seamus Heaney, Midterm Break. Audre Lorde, Now I am Forever with Child. Edgar Lee Masters, Elsa Wertman. Edgar Lee Masters, Hamilton Greene. Sylvia Plath, Daddy. Geoffrey Brock, Daddy: 1933. Gary Soto, Black Hair. Kitty Tsui, A Chinese Banquet. Michael Lassell, How to Watch Your Brother Die. Gwendolyn Brooks, Sadie and Maud. Sharon McCartney, After the Chuck Jones Tribute on Teletoon. Stephanie Brown, Feminine Intuition. 4. Point Of View. How Do We Know What We Know About What Happened?. Point of View. Dorothy Parker, Penelope. The Narrative Voice. Film Focus And Angles Henry Taylor, After a Movie. Reliable And Unreliable Narrators. Third Person Narrators. Charles Dickens, from A Christmas Carol. Ernest Hemingway, from Hills Like White Elephants. Wendell Berry, The Vacation. First Person Narrators. Shifting Perspectives. Stevie Smith, Not Waving but Drowning. Frank Gaspar, It Is the Nature of the Wing. Modeling Critical Analysis: Robert Browning, My Last Duchess. Anthology: Mythopoeia. Roger Ebert, review of ET (from The Chicago Sun Times). Anne Beatty, Janus. Ursula LeGuin, Wife's Story. Sylvia Plath, Mirror. William Carlos Williams, This Is Just to Say. Erica-Lynn Gambino, This Is Just to Say. Rodney Jones, Plea for Forgiveness. Edna St. Vincent Millay, Childhood is the Kingdom Where Nobody Dies. Adrienne Rich, Living in Sin. Elizabeth Bishop, The Fish. H. D., Helen. Larry Levis, Childhood Ideogram. Alice Walker, Women. Louis Simpson, Al and Beth. August Wilson, Joe Turner's Come and Gone. 5. Setting. Where And When Does The Action Take Place? Why Does It Make A Difference? Details Of Place And Time. Denise Levertov, February Evening in New York. Theodore Dreiser, from Sister Carrie. The Role of Physical Objects. Kazuo Ishiguro, from Remains of the Day. Imaginary Places. Modeling Critical Analysis: Robert Browning, My Last Duchess, Anthology: Dystopia. Laura Miller, commentary of The Hunger Games Trilogy (from The New Yorker). George Saunders, Escape from Spiderland. Salman Rushdie, The Courter. Ursula LeGuin, The Ones who Walk Away from Omelas. Samuel Taylor Coleridge, Kubla Khan. Edgar Allan Poe, The Raven. Dudley Randall, Ballad of Birmingham. Gary Soto, Braly Street. Gary Soto, Kearney Park. Chitra Banerjee Divakaruni, Indian Movie, New Jersey. Christina Rossetti, Cobwebs. Oscar Wilde, The Harlot's House. William Blake, London. Robert Frost, Birches. William Wordsworth. London, September 3, 1802 "O friend ..." Mary Ruefle, Middle School. Thomas Lux, The Swimming Pool. 6. Rhythm, Pace, and Rhyme. How Do Sounds Move? Filmic Rhythm. Poetic Rhythm. Herman Melville, The Maldive Shark. William Blake, The Nurse's Song. Stephen Crane, from A Bride Comes to Yellow Sky. The Rhythm of Pauses. Samuel Johnson, On the Death of Dr. Robert Levet. Ben Jonson, On My First Son. The Rhythm of Sounds. Alfred Lord Tennyson, The Lotus Eaters. Alexander Pope, from An Essay on Criticism. Randall Jarrell, The Death of the Ball Turret Gunner. Robert Frost, Fire and Ice. Modeling Critical Analysis: Robert Browning, My Last Duchess. Anthology: Farce. Penelope Gilliatt, review of The Pink Panther (from The New Yorker). James Baldwin, Sonny's Blues. Gabriel Garcia Marquez, The Very Old Man with Enormous Wings. Tope Folarin, Miracle. Ogden Nash, Kind of an Ode to Duty. Amiri Baraka, In Memory of Radio. Lawrence Ferlinghetti, Constantly Risking Absurdity. William Blake, The Chimney Sweeper (innocence). William Blake, Holy Thursday (innocence). William Blake, Holy Thursday (experience). William Blake, The Chimney Sweeper (experience). Gwendolyn Brooks, We Real Cool. Countee Cullen, Incident R.S. Gwynn, My Agent Says. Grace Paley, The Poet's Occasional Alternative. Heather McHugh, Past All Understanding. Paul Violi, Counterman. Terrance Hayes, A House is Not a Home. Susan-Lori Parks, TopDog/Under Dog. 7. Images. Can We Trade A Picture For Thousand Words? Creating Pictures With Words. William Carlos Williams, The Red Wheelbarrow. Czeslaw Milosz, Watering Can. Wislawa Szymborska, Courtesy of the Blind. Registering Taste And Smell. Salman Rushdie, On Leavened Bread. The Interaction Of The Senses. John Milton, from Paradise Lost. Richard Wilbur, A Fire-Truck. The Conflation Of Thought And Sensations. Yosa Buson Hokko, Poems in Four Seasons. Modeling Critical Analysis: T.S. Eliot The Love Song of J. Alfred Prufrock. Anthology: Soap Opera. Philip French, review of Winter's Bone (from The Guardian). Alice McDermott, Enough. Susan Minot, Lust. Alice Munro, Boys and Girls. Denise Duhamel, How it will End. Donald Hall, Prophecy. Anon., My Love in Her Attire. Anon., Western Wind. Emily Dickinson, Wild Nights (#249). John Fletcher Take, Oh, Take Those Lips Away. Henry Howard, Earl of Surrey Love, That Doth Reign Within My Thought. Thomas Wyatt, The Long Love that in my Heart Doth Harbor. Galway Kinnell, Shelly. Robert Burns, A Red, Red Rose. Denise Levertov, The Ache of Marriage. Denise Levertov, Divorce. Christopher Marlowe, The Passionate Shepard to His Love. Sir Walter Raleigh, The Nymph's Reply to the Shepherd. Andrew Marvell, To His Coy Mistress. Edna St. Vincent Millay, Whose lips these lips have kissed. Elizabeth Barrett Browning, How Do I Love Thee. Elizabeth Barrett Browning, When Our Two Souls. Robert Browning, Meeting at Night. Robert Browning, Parting at Morning. Susan Glaspell, Trifles. 8. Coherence. How Does The Work Hold Together? Nick Hornby, from High Fidelity. Design And Shape. George Herbert, Easter Wings. Thomas Hardy, The Convergence of the Twain. Traditional Structures. William Wordsworth, Nuns Fret Not. Edna St. Vincent Millay, I, Being Born a Woman and Distressed. Robert Frost, Design. Dylan Thomas, Do Not Go Gentle into That Good Night. Coherence Without Traditional Or Fixed Structures. Joe Kane, The Boy Who Nearly Won the Texaco Art Competition. Modeling Critical Analysis: T.S. Eliot, The Love Song Of J. Alfred Prufrock. Anthology: Puzzle Story. Anthony Lane, review of Pulp Fiction (from The New Yorker). Edith Wharton, Roman Fever. Charles W. Chestnut, Wife of His Youth. Kate Chopin, Story of an Hour. John Donne, A Valediction Forbidding Mourning. E. E. Cummings, in just. Wallace Stevens, 13 Ways of Looking at a Blackbird. Walt Whitman, There Was a Child Went Forth. 9. Interruption. Where Did That Come From? Why Is This Here? Interrupting The Fictional Frame: Choruses And Expositions. Structural Interruptions. William Butler Yeats, The Folly of Being Comforted. Mary Oliver, Bone Poem. Juxtaposition. Sensory Juxtapositions. Montage. Modeling Critical Analysis: T.S. Eliot, The Love Song of J. Alfred Prufrock. Anthology: Espionage. Manohla Dargis, review of The Bourne Ultimatum (from The New York Times). Jorges Luis Borges, The Garden of Forking Paths. Joseph Conrad, Secret Sharer. Jennifer Egan, Black Box. Elizabeth Bishop, Brazil, January, 1502. Louise Bogan, Cartography Samuel Taylor Coleridge, Rime of the Ancient Mariner Emily Dickinson, The Brain is wider than the Sky (#632). Emily Dickinson, I never saw a Moor (#1052). Emily Dickinson, Tell all the Truth but tell it slant (#1129). Emily Dickinson, To make a prairie it takes a clover and one bee (#1755). Laura Riding, The Map of Places. Debra Spencer, The Discovery of Sex. Bob Hicok, Having intended merely to pick on an Oil Company. James Tate, Bounden Duty. William Shakespeare, Much Ado About Nothing. 10. Tone. Did I Hear That Right? Hearing Right. Margaret Atwood, You Fit Into Me. Dorothy Parker, One Perfect Rose. Dorothy Parker, Thought for a Sunshiny Morning. John Donne, The Flea. Dark And Light. Ted Kooser, A Letter from Aunt Belle. Zora Neal Hurston, from Peter's Rock. Irony and Introspection. William Carlos Williams, At the Ball Game. Luisa Valenzuela, The Censors. Czeslaw Milosz, If There Is No God. Modeling Critical Analysis: O Brother Where Art Thou? Anthology: Noir. Roger Ebert, on Double Indemnity (from Rogerebert.com). Tessa Hadley, Bad Dreams. Flannery O'Preface. Part I. 1. Introduction. Critical Writing As Conversation. Critical Writing As An Extension Of Reading. Langston Hughes, Harlem. The Elements Of Literature. How Can A Specialized Vocabulary Enrich Our Experience Of Literature? Developing A Flexible Critical Vocabulary. 2. Writing As Process. How Can I Begin To Shape In Writing My Response To A Literary Text? Getting Started: What Can I Do To Break The Ice? Crafting A First Full Draft: What Do I Need To Do To Complete A Strong Draft? Defining A Topic. Marge Piercy, A Work Of Artifice. Developing Ideas. Revising The Draft: What Do Teachers Want To See In The Finished Paper? Clarify The Structure. Polish The Surface. 3. An Orientation To Research. How Do We Use Sources? How Do We Find Them? What Material Do We Document? How Do We Use Sources? How To Find Sources. Giving Appropriate Credit: The Issue Of Plagiarism. Neal Bowers, Tenth Year Elegy. David Jones, Tenth Year Elegy (Plagiarized). Integrating Sources Into Our Writing: What Do We Document? Quotation, Paraphrase, And Summary. Distinct Insights And Common Observations. Common Knowledge. How To Cite. Parenthetical Note Form. The Works Cited Page. Part II: THE LITERARY ELEMENTS. 1. Genre. How Do Our Expectations Impact Our Literary Experience? How Are Those Expectations Formed? Conventions. Mrs. J.H. Riddell, From Nut Bush Farm. William Shakespeare, From Macbeth. Disruptions. Mark Twain, Ode To Stephen Dowling Bots, Dec'd. Modeling Critical Analysis: Tom Stoppard, Fifteen Minute Hamlet. Anthology: Horror. Anthony Lane, Review Of Halloween H2o (From The New Yorker). Michael Chabon, In The Black Mill. George R.R. Martin, Sandkings. Charlotte Perkins Gilman, The Yellow Wallpaper. Robert Browning, "Porphyria's Lover." Carolyn Forche. The Colonel. Joyce Carol Oates, Too Young To Marry But Not Too Young To Die. Ted Hughes, Lovesong. William Butler Yeats, Leda And The Swan. Linda Pastan, Ethics. Jane Kenyon, Reading Aloud To My Father. Christina Rossetti, Goblin Market. Christopher Marlowe, Doctor Faustus. 2. Scene, Episode, And Plot. What Happened And Why Do We Care? Storytelling and Critical Analysis. Sharon Olds, the Possessive. Elements of Plot: Incident, Scene, and Sequence. Robert Pinsky, Poem with Lines in Any Order. Wislawa Szymborska, Abc. Truncation of Plot: Episode, Impression, and Fragment. Stephen Crane, an Episode of War. Momentum of Plot: Tension, Release, Rising Action, Climax, And Resolution. Variations on Plot Form: Multiple and Reflexive Plots. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Detective. Michael Sragow, Review Of "Sherlock (Tv)" (From The New Yorker). Fiction Arthur Conan Doyle, A Scandal In Bohemia. Don Lee, The Price Of Eggs In China. Emily Dickinson, A Route of Evanescence (#1463). Emily Dickinson, I like to see it lap the miles (#585). A.E. Robinson, Richard Cory. Robert Frost, Stopping by Woods on a Snowy Evening. William Stafford, Traveling Through the Dark. Aron Keesbury, On the Robbery Across the Street. Kevin Young, The Set-up. Kevin Young, The Chase. Muriel Rukeyser, Myth. Sophocles, Oedipus the King (tr. George Young). 3. Character. Who Is Involved And Why Does It Matter? Building Character. Michael Chabon, from Kavalier and Clay. Presenting Character. Picturing Character. Rita Dove, Hattie McDaniel at the Coconut Grove. Feeling For Character. Cathy Song, Picture Bride. Robert Hayden, Those Winter Sundays. Character and Function. Judith Ortiz Cofer, My Father in the Navy. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Folklore. Manohla Dargis, review of Batman Begins (from The New York Times). Alice Munro, How I Met My Husband. Jhumpa Lahiri, This Blessed House. Alice Walker, Everyday Use. Eavan Boland, The Pomegranate. Robert Frost, Home Burial. Donald Hall, My Son, My Executioner. Seamus Heaney, Midterm Break. Audre Lorde, Now I am Forever with Child. Edgar Lee Masters, Elsa Wertman. Edgar Lee Masters, Hamilton Greene. Sylvia Plath, Daddy. Geoffrey Brock, Daddy: 1933. Gary Soto, Black Hair. Kitty Tsui, A Chinese Banquet. Michael Lassell, How to Watch Your Brother Die. Gwendolyn Brooks, Sadie and Maud. Sharon McCartney, After the Chuck Jones Tribute on Teletoon. Stephanie Brown, Feminine Intuition. 4. Point Of View. How Do We Know What We Know About What Happened?. Point of View. Dorothy Parker, Penelope. The Narrative Voice. Film Focus And Angles Henry Taylor, After a Movie. Reliable And Unreliable Narrators. Third Person Narrators. Charles Dickens, from A Christmas Carol. Ernest Hemingway, from Hills Like White Elephants. Wendell Berry, The Vacation. First Person Narrators. Shifting Perspectives. Stevie Smith, Not Waving but Drowning. Frank Gaspar, It Is the Nature of the Wing. Modeling Critical Analysis: Robert Browning, My Last Duchess. Anthology: Mythopoeia. Roger Ebert, review of ET (from The Chicago Sun Times). Anne Beatty, Janus. Ursula LeGuin, Wife's Story. Sylvia Plath, Mirror. William Carlos Williams, This Is Just to Say. Erica-Lynn Gambino, This Is Just to Say. Rodney Jones, Plea for Forgiveness. Edna St. Vincent Millay, Childhood is the Kingdom Where Nobody Dies. Adrienne Rich, Living in Sin. Elizabeth Bishop, The Fish. H. D., Helen. Larry Levis, Childhood Ideogram. Alice Walker, Women. Louis Simpson, Al and Beth. August Wilson, Joe Turner's Come and Gone. 5. Setting. Where And When Does The Action Take Place? Why Does It Make A Difference? Details Of Place And Time. Denise Levertov, February Evening in New York. Theodore Dreiser, from Sister Carrie. The Role of Physical Objects. Kazuo Ishiguro, from Remains of the Day. Imaginary Places. Modeling Critical Analysis: Robert Browning, My Last Duchess, Anthology: Dystopia. Laura Miller, commentary of The Hunger Games Trilogy (from The New Yorker). George Saunders, Escape from Spiderland. Salman Rushdie, The Courter. Ursula LeGuin, The Ones who Walk Away from Omelas. Samuel Taylor Coleridge, Kubla Khan. Edgar Allan Poe, The Raven. Dudley Randall, Ballad of Birmingham. Gary Soto, Braly Street. Gary Soto, Kearney Park. Chitra Banerjee Divakaruni, Indian Movie, New Jersey. Christina Rossetti, Cobwebs. Oscar Wilde, The Harlot's House. William Blake, London. Robert Frost, Birches. William Wordsworth. London, September 3, 1802 "O friend ..." Mary Ruefle, Middle School. Thomas Lux, The Swimming Pool. 6. Rhythm, Pace, and Rhyme. How Do Sounds Move? Filmic Rhythm. Poetic Rhythm. Herman Melville, The Maldive Shark. William Blake, The Nurse's Song. Stephen Crane, from A Bride Comes to Yellow Sky. The Rhythm of Pauses. Samuel Johnson, On the Death of Dr. Robert Levet. Ben Jonson, On My First Son. The Rhythm of Sounds. Alfred Lord Tennyson, The Lotus Eaters. Alexander Pope, from An Essay on Criticism. Randall Jarrell, The Death of the Ball Turret Gunner. Robert Frost, Fire and Ice. Modeling Critical Analysis: Robert Browning, My Last Duchess. Anthology: Farce. Penelope Gilliatt, review of The Pink Panther (from The New Yorker). James Baldwin, Sonny's Blues. Gabriel Garcia Marquez, The Very Old Man with Enormous Wings. Tope Folarin, Miracle. Ogden Nash, Kind of an Ode to Duty. Amiri Baraka, In Memory of Radio. Lawrence Ferlinghetti, Constantly Risking Absurdity. William Blake, The Chimney Sweeper (innocence). William Blake, Holy Thursday (innocence). William Blake, Holy Thursday (experience). William Blake, The Chimney Sweeper (experience). Gwendolyn Brooks, We Real Cool. Countee Cullen, Incident R.S. Gwynn, My Agent Says. Grace Paley, The Poet's Occasional Alternative. Heather McHugh, Past All Understanding. Paul Violi, Counterman. Terrance Hayes, A House is Not a Home. Susan-Lori Parks, TopDog/Under Dog. 7. Images. Can We Trade A Picture For Thousand Words? Creating Pictures With Words. William Carlos Williams, The Red Wheelbarrow. Czeslaw Milosz, Watering Can. Wislawa Szymborska, Courtesy of the Blind. Registering Taste And Smell. Salman Rushdie, On Leavened Bread. The Interaction Of The Senses. John Milton, from Paradise Lost. Richard Wilbur, A Fire-Truck. The Conflation Of Thought And Sensations. Yosa Buson Hokko, Poems in Four Seasons. Modeling Critical Analysis: T.S. Eliot The Love Song of J. Alfred Prufrock. Anthology: Soap Opera. Philip French, review of Winter's Bone (from The Guardian). Alice McDermott, Enough. Susan Minot, Lust. Alice Munro, Boys and Girls. Denise Duhamel, How it will End. Donald Hall, Prophecy. Anon., My Love in Her Attire. Anon., Western Wind. Emily Dickinson, Wild Nights (#249). John Fletcher Take, Oh, Take Those Lips Away. Henry Howard, Earl of Surrey Love, That Doth Reign Within My Thought. Thomas Wyatt, The Long Love that in my Heart Doth Harbor. Galway Kinnell, Shelly. Robert Burns, A Red, Red Rose. Denise Levertov, The Ache of Marriage. Denise Levertov, Divorce. Christopher Marlowe, The Passionate Shepard to His Love. Sir Walter Raleigh, The Nymph's Reply to the Shepherd. Andrew Marvell, To His Coy Mistress. Edna St. Vincent Millay, Whose lips these lips have kissed. Elizabeth Barrett Browning, How Do I Love Thee. Elizabeth Barrett Browning, When Our Two Souls. Robert Browning, Meeting at Night. Robert Browning, Parting at Morning. Susan Glaspell, Trifles. 8. Coherence. How Does The Work Hold Together? Nick Hornby, from High Fidelity. Design And Shape. George Herbert, Easter Wings. Thomas Hardy, The Convergence of the Twain. Traditional Structures. William Wordsworth, Nuns Fret Not. Edna St. Vincent Millay, I, Being Born a Woman and Distressed. Robert Frost, Design. Dylan Thomas, Do Not Go Gentle into That Good Night. Coherence Without Traditional Or Fixed Structures. Joe Kane, The Boy Who Nearly Won the Texaco Art Competition. Modeling Critical Analysis: T.S. Eliot, The Love Song Of J. Alfred Prufrock. Anthology: Puzzle Story. Anthony Lane, review of Pulp Fiction (from The New Yorker). Edith Wharton, Roman Fever. Charles W. Chestnut, Wife of His Youth. Kate Chopin, Story of an Hour. John Donne, A Valediction Forbidding Mourning. E. E. Cummings, in just. Wallace Stevens, 13 Ways of Looking at a Blackbird. Walt Whitman, There Was a Child Went Forth. 9. Interruption. Where Did That Come From? Why Is This Here? Interrupting The Fictional Frame: Choruses And Expositions. Structural Interruptions. William Butler Yeats, The Folly of Being Comforted. Mary Oliver, Bone Poem. Juxtaposition. Sensory Juxtapositions. Montage. Modeling Critical Analysis: T.S. Eliot, The Love Song of J. Alfred Prufrock. Anthology: Espionage. Manohla Dargis, review of The Bourne Ultimatum (from The New York Times). Jorges Luis Borges, The Garden of Forking Paths. Joseph Conrad, Secret Sharer. Jennifer Egan, Black Box. Elizabeth Bishop, Brazil, January, 1502. Louise Bogan, Cartography Samuel Taylor Coleridge, Rime of the Ancient Mariner Emily Dickinson, The Brain is wider than the Sky (#632). Emily Dickinson, I never saw a Moor (#1052). Emily Dickinson, Tell all the Truth but tell it slant (#1129). Emily Dickinson, To make a prairie it takes a clover and one bee (#1755). Laura Riding, The Map of Places. Debra Spencer, The Discovery of Sex. Bob Hicok, Having intended merely to pick on an Oil Company. James Tate, Bounden Duty. William Shakespeare, Much Ado About Nothing. 10. Tone. Did I Hear That Right? Hearing Right. Margaret Atwood, You Fit Into Me. Dorothy Parker, One Perfect Rose. Dorothy Parker, Thought for a Sunshiny Morning. John Donne, The Flea. Dark And Light. Ted Kooser, A Letter from Aunt Belle. Zora Neal Hurston, from Peter's Rock. Irony and Introspection. William Carlos Williams, At the Ball Game. Luisa Valenzuela, The Censors. Czeslaw Milosz, If There Is No God. Modeling Critical Analysis: O Brother Where Art Thou? Anthology: Noir. Roger Ebert, on Double Indemnity (from Rogerebert.com). Tessa Hadley, Bad Dreams. Flannery O'Connor, A Good Man is Hard to Find. Joyce Carroll Oates, Where Are You Going, Where Have You Been? Billy Collins, Chopping parsley while listening to Art Blakey's Three Blind Mice. Zbigniew Herbert, Mr. Cogito on a Set Theme: "Friends Depart". Ted Kooser, A Hairnet with Stars. Yusef Komunyakaa, A Break from the Bush. Carol Muske-Dukes, Hate Mail. Tony Hoagland, In a Quiet Town. 11. Word Choice. Why This Word and Not Another? Precision and Playfulness. Erasmus, De Duplici Copia Verborum et. Rerum. William Shakespeare, Sonnets (From fairest creatures, When fortie Winters, Looke in thy glasse, Is it for feare to wet a widow's eye, Shall I compare thee). Definition and Usage. Billy Collins, Thesaurus. Robert Sward, For Gloria on Her 60th Birthday, or Looking for Love in Merriam-Webster. Modeling Critical Analysis: O Brother Where Art Thou? Anthology: Historical Fiction. Matt Feenly, on Deadwood (from Slate.com). Jim Shepherd, Gojira, King of the Monsters. Emily Donoghue, Man and Boy. Nathaniel Hawthorne, Young Goodman Brown. Elizabeth Bishop, Manners For a Child of 1918. Phillis Wheatley, On Being Brought from Africa to America. Allen Ginsberg, Supermarket in California. James Tate. Shiloh. Meghan O'Rourke, The Window at Arles. Chidiock Tichborne, Tichbourne's Elegy. Robert Lowell, For the Union Dead. Allen Tate, Ode to the Confederate Dead. Gwendolyn Brooks, Of De Witt Williams on his Way to Lincoln Cemetery. David Shumate, High Water Mark. Frederick Seidel, The Death of the Shah. Peter Parnell, QED. Chapter 12: Symbolism. What Makes Us "Read Into" An Event Or An Image? Figurative Language. Recognizing Symbols. Gary Soto, Oranges. Allegory and Symbol. Embodying Timeless Qualities. Billy Collins, The Death of Allegory. Reading Allegory. Modeling Critical Analysis: Guimaraes Rosa The Third Bank of the River. Anthology: Gothic Romance. Michael Hahn, review of Rebecca (from The Guardian). Karen Russell, Haunting Olivia. Kelly Link, Magic for Beginners. Bram Stoker, Dracula's Guest. Matthew Arnold, Dover Beach. Jimmy Baca, Green Chiles. E. E. Cummings, anyone lived in a pretty how town. Emily Dickinson, The Soul selects her own Society (#303). Seamus Heaney, Valediction. Peter Meinke, Sunday at the Apple Market. William Butler Yeats, The Wild Swans at Coole. Mark Halliday, Opaque. Robert Wrigley, Religion. Moira Buffini, Vampire Story. 13. Context. What Factors Outside The Text Influence Our Experience Of The Texts? What Do We Really Need To Know? How Does New Knowledge Influence Our Experience Of Old Texts? Alfred Lord Tennyson, Charge of the Light Brigade. How Is Knowledge "Outside" The Text Helpful? Czeslaw Milosz, A Song on the End of the World. Czeslaw Milosz, Christopher Robin. Do We Need To Know Everything In Order To Understand? What If Substantial Outside Knowledge Is Essential? Herman Melville, The House-Top. Modeling Critical Analysis: Guimaraes Rosa, The Third Bank of the River. Anthology: War Film. David Denby, review of The Hurt Locker (from The New Yorker). Ernest Hemingway, Soldier's Home. Tim O'Brien, The Things They Carried. Herman Melville, A Utilitarian View of the Monitor's Fight. E. E. Cummings, I sing of Olaf glad and big. Richard Eberhart, The Fury of Aerial Bombardment. Edgar A. Guest, The Things that Make a Soldier Great. Henry Newbolt, Vitai Lampada. Wilfred Owen, Anthem for a Doomed Youth. Wilfred Owen, Dulce et Decorum Est. Carl Sandburg, Grass. Siegfried Sassoon, The Rear Guard. Siegfried Sassoon, Repression of War Experience. Anne Sexton, Courage. David Lehman, Operation Memory. Robert Hass, Bush'Preface. Part I. 1. Introduction. Critical Writing As Conversation. Critical Writing As An Extension Of Reading. Langston Hughes, Harlem. The Elements Of Literature. How Can A Specialized Vocabulary Enrich Our Experience Of Literature? Developing A Flexible Critical Vocabulary. 2. Writing As Process. How Can I Begin To Shape In Writing My Response To A Literary Text? Getting Started: What Can I Do To Break The Ice? Crafting A First Full Draft: What Do I Need To Do To Complete A Strong Draft? Defining A Topic. Marge Piercy, A Work Of Artifice. Developing Ideas. Revising The Draft: What Do Teachers Want To See In The Finished Paper? Clarify The Structure. Polish The Surface. 3. An Orientation To Research. How Do We Use Sources? How Do We Find Them? What Material Do We Document? How Do We Use Sources? How To Find Sources. Giving Appropriate Credit: The Issue Of Plagiarism. Neal Bowers, Tenth Year Elegy. David Jones, Tenth Year Elegy (Plagiarized). Integrating Sources Into Our Writing: What Do We Document? Quotation, Paraphrase, And Summary. Distinct Insights And Common Observations. Common Knowledge. How To Cite. Parenthetical Note Form. The Works Cited Page. Part II: THE LITERARY ELEMENTS. 1. Genre. How Do Our Expectations Impact Our Literary Experience? How Are Those Expectations Formed? Conventions. Mrs. J.H. Riddell, From Nut Bush Farm. William Shakespeare, From Macbeth. Disruptions. Mark Twain, Ode To Stephen Dowling Bots, Dec'd. Modeling Critical Analysis: Tom Stoppard, Fifteen Minute Hamlet. Anthology: Horror. Anthony Lane, Review Of Halloween H2o (From The New Yorker). Michael Chabon, In The Black Mill. George R.R. Martin, Sandkings. Charlotte Perkins Gilman, The Yellow Wallpaper. Robert Browning, "Porphyria's Lover." Carolyn Forche. The Colonel. Joyce Carol Oates, Too Young To Marry But Not Too Young To Die. Ted Hughes, Lovesong. William Butler Yeats, Leda And The Swan. Linda Pastan, Ethics. Jane Kenyon, Reading Aloud To My Father. Christina Rossetti, Goblin Market. Christopher Marlowe, Doctor Faustus. 2. Scene, Episode, And Plot. What Happened And Why Do We Care? Storytelling and Critical Analysis. Sharon Olds, the Possessive. Elements of Plot: Incident, Scene, and Sequence. Robert Pinsky, Poem with Lines in Any Order. Wislawa Szymborska, Abc. Truncation of Plot: Episode, Impression, and Fragment. Stephen Crane, an Episode of War. Momentum of Plot: Tension, Release, Rising Action, Climax, And Resolution. Variations on Plot Form: Multiple and Reflexive Plots. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Detective. Michael Sragow, Review Of "Sherlock (Tv)" (From The New Yorker). Fiction Arthur Conan Doyle, A Scandal In Bohemia. Don Lee, The Price Of Eggs In China. Emily Dickinson, A Route of Evanescence (#1463). Emily Dickinson, I like to see it lap the miles (#585). A.E. Robinson, Richard Cory. Robert Frost, Stopping by Woods on a Snowy Evening. William Stafford, Traveling Through the Dark. Aron Keesbury, On the Robbery Across the Street. Kevin Young, The Set-up. Kevin Young, The Chase. Muriel Rukeyser, Myth. Sophocles, Oedipus the King (tr. George Young). 3. Character. Who Is Involved And Why Does It Matter? Building Character. Michael Chabon, from Kavalier and Clay. Presenting Character. Picturing Character. Rita Dove, Hattie McDaniel at the Coconut Grove. Feeling For Character. Cathy Song, Picture Bride. Robert Hayden, Those Winter Sundays. Character and Function. Judith Ortiz Cofer, My Father in the Navy. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Folklore. Manohla Dargis, review of Batman Begins (from The New York Times). Alice Munro, How I Met My Husband. Jhumpa Lahiri, This Blessed House. Alice Walker, Everyday Use. Eavan Boland, The Pomegranate. Robert Frost, Home Burial. Donald Hall, My Son, My Executioner. Seamus Heaney, Midterm Break. Audre Lorde, Now I am Forever with Child. Edgar Lee Masters, Elsa Wertman. Edgar Lee Masters, Hamilton Greene. Sylvia Plath, Daddy. Geoffrey Brock, Daddy: 1933. Gary Soto, Black Hair. Kitty Tsui, A Chinese Banquet. Michael Lassell, How to Watch Your Brother Die. Gwendolyn Brooks, Sadie and Maud. Sharon McCartney, After the Chuck Jones Tribute on Teletoon. Stephanie Brown, Feminine Intuition. 4. Point Of View. How Do We Know What We Know About What Happened?. Point of View. Dorothy Parker, Penelope. The Narrative Voice. Film Focus And Angles Henry Taylor, After a Movie. Reliable And Unreliable Narrators. Third Person Narrators. Charles Dickens, from A Christmas Carol. Ernest Hemingway, from Hills Like White Elephants. Wendell Berry, The Vacation. First Person Narrators. Shifting Perspectives. Stevie Smith, Not Waving but Drowning. Frank Gaspar, It Is the Nature of the Wing. Modeling Critical Analysis: Robert Browning, My Last Duchess. Anthology: Mythopoeia. Roger Ebert, review of ET (from The Chicago Sun Times). Anne Beatty, Janus. Ursula LeGuin, Wife's Story. Sylvia Plath, Mirror. William Carlos Williams, This Is Just to Say. Erica-Lynn Gambino, This Is Just to Say. Rodney Jones, Plea for Forgiveness. Edna St. Vincent Millay, Childhood is the Kingdom Where Nobody Dies. Adrienne Rich, Living in Sin. Elizabeth Bishop, The Fish. H. D., Helen. Larry Levis, Childhood Ideogram. Alice Walker, Women. Louis Simpson, Al and Beth. August Wilson, Joe Turner's Come and Gone. 5. Setting. Where And When Does The Action Take Place? Why Does It Make A Difference? Details Of Place And Time. Denise Levertov, February Evening in New York. Theodore Dreiser, from Sister Carrie. The Role of Physical Objects. Kazuo Ishiguro, from Remains of the Day. Imaginary Places. Modeling Critical Analysis: Robert Browning, My Last Duchess, Anthology: Dystopia. Laura Miller, commentary of The Hunger Games Trilogy (from The New Yorker). George Saunders, Escape from Spiderland. Salman Rushdie, The Courter. Ursula LeGuin, The Ones who Walk Away from Omelas. Samuel Taylor Coleridge, Kubla Khan. Edgar Allan Poe, The Raven. Dudley Randall, Ballad of Birmingham. Gary Soto, Braly Street. Gary Soto, Kearney Park. Chitra Banerjee Divakaruni, Indian Movie, New Jersey. Christina Rossetti, Cobwebs. Oscar Wilde, The Harlot's House. William Blake, London. Robert Frost, Birches. William Wordsworth. London, September 3, 1802 "O friend ..." Mary Ruefle, Middle School. Thomas Lux, The Swimming Pool. 6. Rhythm, Pace, and Rhyme. How Do Sounds Move? Filmic Rhythm. Poetic Rhythm. Herman Melville, The Maldive Shark. William Blake, The Nurse's Song. Stephen Crane, from A Bride Comes to Yellow Sky. The Rhythm of Pauses. Samuel Johnson, On the Death of Dr. Robert Levet. Ben Jonson, On My First Son. The Rhythm of Sounds. Alfred Lord Tennyson, The Lotus Eaters. Alexander Pope, from An Essay on Criticism. Randall Jarrell, The Death of the Ball Turret Gunner. Robert Frost, Fire and Ice. Modeling Critical Analysis: Robert Browning, My Last Duchess. Anthology: Farce. Penelope Gilliatt, review of The Pink Panther (from The New Yorker). James Baldwin, Sonny's Blues. Gabriel Garcia Marquez, The Very Old Man with Enormous Wings. Tope Folarin, Miracle. Ogden Nash, Kind of an Ode to Duty. Amiri Baraka, In Memory of Radio. Lawrence Ferlinghetti, Constantly Risking Absurdity. William Blake, The Chimney Sweeper (innocence). William Blake, Holy Thursday (innocence). William Blake, Holy Thursday (experience). William Blake, The Chimney Sweeper (experience). Gwendolyn Brooks, We Real Cool. Countee Cullen, Incident R.S. Gwynn, My Agent Says. Grace Paley, The Poet's Occasional Alternative. Heather McHugh, Past All Understanding. Paul Violi, Counterman. Terrance Hayes, A House is Not a Home. Susan-Lori Parks, TopDog/Under Dog. 7. Images. Can We Trade A Picture For Thousand Words? Creating Pictures With Words. William Carlos Williams, The Red Wheelbarrow. Czeslaw Milosz, Watering Can. Wislawa Szymborska, Courtesy of the Blind. Registering Taste And Smell. Salman Rushdie, On Leavened Bread. The Interaction Of The Senses. John Milton, from Paradise Lost. Richard Wilbur, A Fire-Truck. The Conflation Of Thought And Sensations. Yosa Buson Hokko, Poems in Four Seasons. Modeling Critical Analysis: T.S. Eliot The Love Song of J. Alfred Prufrock. Anthology: Soap Opera. Philip French, review of Winter's Bone (from The Guardian). Alice McDermott, Enough. Susan Minot, Lust. Alice Munro, Boys and Girls. Denise Duhamel, How it will End. Donald Hall, Prophecy. Anon., My Love in Her Attire. Anon., Western Wind. Emily Dickinson, Wild Nights (#249). John Fletcher Take, Oh, Take Those Lips Away. Henry Howard, Earl of Surrey Love, That Doth Reign Within My Thought. Thomas Wyatt, The Long Love that in my Heart Doth Harbor. Galway Kinnell, Shelly. Robert Burns, A Red, Red Rose. Denise Levertov, The Ache of Marriage. Denise Levertov, Divorce. Christopher Marlowe, The Passionate Shepard to His Love. Sir Walter Raleigh, The Nymph's Reply tothe Shepherd. Andrew Marvell, To His Coy Mistress. Edna St. Vincent Millay, Whose lips these lips have kissed. Elizabeth Barrett Browning, How Do I Love Thee. Elizabeth Barrett Browning, When Our Two Souls. Robert Browning, Meeting at Night. Robert Browning, Parting at Morning. Susan Glaspell, Trifles. 8. Coherence. How Does The Work Hold Together? Nick Hornby, from High Fidelity. Design And Shape. George Herbert, Easter Wings. Thomas Hardy, The Convergence of the Twain. Traditional Structures. William Wordsworth, Nuns Fret Not. Edna St. Vincent Millay, I, Being Born a Woman and Distressed. Robert Frost, Design. Dylan Thomas, Do Not Go Gentle into That Good Night. Coherence Without Traditional Or Fixed Structures. Joe Kane, The Boy Who Nearly Won the Texaco Art Competition. Modeling Critical Analysis: T.S. Eliot, The Love Song Of J. Alfred Prufrock. Anthology: Puzzle Story. Anthony Lane, review of Pulp Fiction (from The New Yorker). Edith Wharton, Roman Fever. Charles W. Chestnut, Wife of His Youth. Kate Chopin, Story of an Hour. John Donne, A Valediction Forbidding Mourning. E. E. Cummings, in just. Wallace Stevens, 13 Ways of Looking at a Blackbird. Walt Whitman, There Was a Child Went Forth. 9. Interruption. Where Did That Come From? Why Is This Here? Interrupting The Fictional Frame: Choruses And Expositions. Structural Interruptions. William Butler Yeats, The Folly of Being Comforted. Mary Oliver, Bone Poem. Juxtaposition. Sensory Juxtapositions. Montage. Modeling Critical Analysis: T.S. Eliot, The Love Song of J. Alfred Prufrock. Anthology: Espionage. Manohla Dargis, review of The Bourne Ultimatum (from The New York Times). Jorges Luis Borges, The Garden of Forking Paths. Joseph Conrad, Secret Sharer. Jennifer Egan, Black Box. Elizabeth Bishop, Brazil, January, 1502. Louise Bogan, Cartography Samuel Taylor Coleridge, Rime of the Ancient Mariner Emily Dickinson, The Brain is wider than the Sky (#632). Emily Dickinson, I never saw a Moor (#1052). Emily Dickinson, Tell all the Truth but tell it slant (#1129). Emily Dickinson, To make a prairie it takes a clover and one bee (#1755). Laura Riding, The Map of Places. Debra Spencer, The Discovery of Sex. Bob Hicok, Having intended merely to pick on an Oil Company. James Tate, Bounden Duty. William Shakespeare, Much Ado About Nothing. 10. Tone. Did I Hear That Right? Hearing Right. Margaret Atwood, You Fit Into Me. Dorothy Parker, One Perfect Rose. Dorothy Parker, Thought for a Sunshiny Morning. John Donne, The Flea. Dark And Light. Ted Kooser, A Letter from Aunt Belle. Zora Neal Hurston, from Peter's Rock. Irony and Introspection. William Carlos Williams, At the Ball Game. Luisa Valenzuela, The Censors. Czeslaw Milosz, If There Is No God. Modeling Critical Analysis: O Brother Where Art Thou? Anthology: Noir. Roger Ebert, on Double Indemnity (from Rogerebert.com). Tessa Hadley, Bad Dreams. Flannery O'Connor, A Good Man is Hard to Find. Joyce Carroll Oates, Where Are You Going, Where Have You Been? Billy Collins, Chopping parsley while listening to Art Blakey's Three Blind Mice. Zbigniew Herbert, Mr. Cogito on a Set Theme: "Friends Depart". Ted Kooser, A Hairnet with Stars. Yusef Komunyakaa, A Break from the Bush. Carol Muske-Dukes, Hate Mail. Tony Hoagland, In a Quiet Town. 11. Word Choice. Why This Word and Not Another? Precision and Playfulness. Erasmus, De Duplici Copia Verborum et. Rerum. William Shakespeare, Sonnets (From fairest creatures, When fortie Winters, Looke in thy glasse, Is it for feare to wet a widow's eye, Shall I compare thee). Definition and Usage. Billy Collins, Thesaurus. Robert Sward, For Gloria on Her 60th Birthday, or Looking for Love in Merriam-Webster. Modeling Critical Analysis: O Brother Where Art Thou? Anthology: Historical Fiction. Matt Feenly, on Deadwood (from Slate.com). Jim Shepherd, Gojira, King of the Monsters. Emily Donoghue, Man and Boy. Nathaniel Hawthorne, Young Goodman Brown. Elizabeth Bishop, Manners For a Child of 1918. Phillis Wheatley, On Being Brought from Africa to America. Allen Ginsberg, Supermarket in California. James Tate. Shiloh. Meghan O'Rourke, The Window at Arles. Chidiock Tichborne, Tichbourne's Elegy. Robert Lowell, For the Union Dead. Allen Tate, Ode to the Confederate Dead. Gwendolyn Brooks, Of De Witt Williams on his Way to Lincoln Cemetery. David Shumate, High Water Mark. Frederick Seidel, The Death of the Shah. Peter Parnell, QED. Chapter 12: Symbolism. What Makes Us "Read Into" An Event Or An Image? Figurative Language. Recognizing Symbols. Gary Soto, Oranges. Allegory and Symbol. Embodying Timeless Qualities. Billy Collins, The Death of Allegory. Reading Allegory. Modeling Critical Analysis: Guimaraes Rosa The Third Bank of the River. Anthology: Gothic Romance. Michael Hahn, review of Rebecca (from The Guardian). Karen Russell, Haunting Olivia. Kelly Link, Magic for Beginners. Bram Stoker, Dracula's Guest. Matthew Arnold, Dover Beach. Jimmy Baca, Green Chiles. E. E. Cummings, anyone lived in a pretty how town. Emily Dickinson, The Soul selects her own Society (#303). Seamus Heaney, Valediction. Peter Meinke, Sunday at the Apple Market. William Butler Yeats, The Wild Swans at Coole. Mark Halliday, Opaque. Robert Wrigley, Religion. Moira Buffini, Vampire Story. 13. Context. What Factors Outside The Text Influence Our Experience Of The Texts? What Do We Really Need To Know? How Does New Knowledge Influence Our Experience Of Old Texts? Alfred Lord Tennyson, Charge of the Light Brigade. How Is Knowledge "Outside" The Text Helpful? Czeslaw Milosz, A Song on the End of the World. Czeslaw Milosz, Christopher Robin. Do We Need To Know Everything In Order To Understand? What If Substantial Outside Knowledge Is Essential? Herman Melville, The House-Top. Modeling Critical Analysis: Guimaraes Rosa, The Third Bank of the River. Anthology: War Film. David Denby, review of The Hurt Locker (from The New Yorker). Ernest Hemingway, Soldier's Home. Tim O'Brien, The Things They Carried. Herman Melville, A Utilitarian View of the Monitor's Fight. E. E. Cummings, I sing of Olaf glad and big. Richard Eberhart, The Fury of Aerial Bombardment. Edgar A. Guest, The Things that Make a Soldier Great. Henry Newbolt, Vitai Lampada. Wilfred Owen, Anthem for a Doomed Youth. Wilfred Owen, Dulce et Decorum Est. Carl Sandburg, Grass. Siegfried Sassoon, The Rear Guard. Siegfried Sassoon, Repression of War Experience. Anne Sexton, Courage. David Lehman, Operation Memory. Robert Hass, Bush's War. 14. Allusions. How Does A Text Build On or Depend Upon Other Texts? Modeling Analysis Of Allusions. Charles Simic, My Weariness of Epic Proportions. What Purpose Does An Allusion Serve? Dick Barnes, Up Home Where I Come From. Finding the Sources. Modeling Critical Analysis: Tom Stoppard Fifteen-Minute Hamlet. Anthology: Time Travel Anthony Lane, review of Looper (from The New Yorker). John Crowley, Snow. James Joyce, The Dead. Ray Bradbury, A Sound of Thunder. Czeslaw Milosz, Orpheus and Eurydice. Adrienne Rich, I Dream I'm the Death of Orpheus. Robert Pinsky, Keyboard. William Butler Yeats, Sailing to Byzantium. John Keats, Ode on a Grecian Urn. John Keats, On First Looking into Chapman's Homer. Percy Bysshe Shelley, Ozymandias. Horace Smith, Ozymandias. John Koethe, Sally's Hair. Ruth Stone, Latest Hotel Guest. Natasha Tretheway, Elegy. Richard Wilbur, This Pleasing Anxious Being. C. K. Williams, A Hundred Bones. Mary Zimmerman, Metamorphoses. 15. The Production and Reproduction of Texts. What's Theory Got To Do With It? Texts and Technology. Textual Form and Conditions of Production. Experiencing Literature through Issues of Production. William Blake, Poison Tree. An Orientation to Contemporary Critical Theory. New Criticism and Auteur Theory. Deconstruction. New Historicism and Other Historically Grounded Approaches. Why Do We Study the Texts We Study? Experiencing Literature through Theory. Abridging, Revising, and Repackaging Text. Charles Dickens, from Oliver Twist. Experiencing Literature. Mark Twain, from Huckleberry Finn. Translations, Subtitles, and Dubbing. Modeling Critical Analysis: Tom Stoppard, 15-minute Hamlet. Index.