Literature & Composition_ Reading - Writing - Thinking ( PDFDrive )

• Chapter 1, “Thinking about Literature,” introduces the study of literature and the approaches and habits of mind that lead to both insightful analysis and enjoyment.• Chapter 2, “Close

Reading • Writing • Thinking

Brewster High School, New York

Robin Dissin Aufses

Lycée Français de New York

Senior Production Editor: Bill Imbornoni

Production Supervisor: Jennifer Peterson

Marketing Manager: Daniel McDonough

Art Director: Lucy Krikorian

Text Design: Linda M Robertson

Copy Editor: Jamie Thaman

Indexer: Kirsten Kite

Photo Research: Helane Prottas

Cover Design: Donna Dennison

Cover Art: The Phillips Collection, Washington, D.C.

Composition: Glyph International

Printing and Binding: Worldcolor/Taunton

President: Joan E Feinberg

Editorial Director: Denise B Wydra

Editor in Chief: Karen S Henry

Director of Development: Erica T Appel

Director of Marketing: Karen R Soeltz

Director of Editing, Design, and Production: Susan W Brown

Assistant Director of Editing, Design, and Production: Elise S Kaiser

Managing Editor: Shuli Traub

Library of Congress Control Number: 2010925397

Copyright © 2011 by Bedford / St Martin’s

All rights reserved No part of this book may be reproduced, stored in a retrieval system, or

transmitted in any form or by any means, electronic, mechanical, photocopying, recording,

or otherwise, except as may be expressly permitted by the applicable copyright statutes or in

writing by the Publisher.

Manufactured in the United States of America.

Acknowledgments and copyrights appear at the back of the book on pages 1510–1517, which

constitute an extension of the copyright page.

It is a violation of the law to reproduce these selections by any means whatsoever without the

written permission of the copyright holder.

Bertha Vogelsang Bahn Kate and Michael Aufses Alison, Lindsay, Maura, & Kaitlin, and to Mary-Grace

Carol Jago taught AP Literature and was department chair at Santa Monica High School for thirty-two years She has served

on the AP Literature Development Committee and as a content advisor on AP Central She is the author of many books, includ-

ing With Rigor for All: Teaching the Classics to Contemporary

Students; Beyond Standards: Excellence in the High School lish Classroom; and four titles in the NCTE High School Litera-

Eng-ture series In 2010, Carol is the president of NCTE and an advisor for the Common Core State Standards Initiative

Renée H Shea is professor of English and Modern Languages at Bowie State University and former Director of Composition She

is coauthor of The Language of Composition: Reading • Writing

• Rhetoric and two titles in the NCTE High School Literature series

on Amy Tan and Zora Neale Hurston She has been a reader and question leader for both AP Literature and Language readings

Lawrence Scanlon taught at Brewster High School for more than thirty years Over the last fi fteen years he has been a reader and question leader for the AP Language exam As a College Board consultant in the U.S and abroad, he has conducted AP workshops in both Language and Literature, as well as serving

on the AP Language Development Committee Larry is coauthor

of The Language of Composition: Reading • Writing • Rhetoric

and has published articles for the College Board and elsewhere

on composition and curriculum

Robin Dissin Aufses is director of English Studies at Lycée

Français de New York She is coauthor of The Language of

Com-position: Reading • Writing • Rhetoric Robin also has published

articles for the College Board on the novelist Chang Rae Lee

and the novel All the King’s Men.

Why read literature? To many of us, that question seems as strange as ing “why breathe?” Literature has been part of our life, family, school, and community for as long as we can remember Of course, there are those who

ask-argue that what today’s students need is preparation for the “real world,” but in the

push for practical university and workplace preparedness we sometimes overlook

the importance of educating students’ imaginations Literature offers windows to

worlds outside students’ experience as well as mirrors onto the world they already

know Literature also prepares students for the personal challenges and moral

dilemmas they are likely to face How better to refl ect on the demands of

contem-porary life than to study William Wordsworth’s “The World Is Too Much with Us”

alongside Nathalie Handal’s “Caribe in Nueva York”? And does not the proffered

wisdom of William Shakespeare, Emily Dickinson, Seamus Heaney, and Rita Dove

provide important preparation for surviving and thriving in this complex world?

Literary analysis is an intellectual discipline that hones students’ thinking by requiring them to probe a text deeply and analyze the means that writers employ

to achieve their effects Along with preparing students for the rigors of an

Advanced Placement* exam, learning how to analyze text and articulate a

per-spective prepares students for life, both in academia and in the workplace This

preparation and exploration are what we hope to achieve in Literature &

Compo-sition by specifi cally targeting the skills and habits of mind that are the keys to

success in an Advanced Placement Literature course

Features of the Book

The opening chapters introduce strategies and scaffolding that

guide students toward deep reading of diffi cult texts while fostering

an understanding of key literary terms and analytical techniques.

We understand that high school teachers are in the classroom every single day,

and with that in mind we designed these opening chapters to be highly

instruc-tional and activity-oriented

*AP and Advanced Placement Program are registered trademarks of the College Entrance

Exam-ination Board, which was not involved in the publication of and does not endorse this product.

• Chapter 1, “Thinking about Literature,” introduces the study of literature and the approaches and habits of mind that lead to both insightful analysis and enjoyment.

• Chapter 2, “Close Reading: Analyzing Poetry and Passages of Fiction,” introduces students to close reading strategies that reveal how the elements of style create meaning in fi ction and poetry Students are also introduced to the process of writing a close analysis, and a comparison and contrast of two poems

stu-dents to analyze the major elements of fi ction and drama and then discuss them thoughtfully in an interpretive essay

• Chapter 4, “Entering the Conversation,” guides students through the process

of using multiple texts to write about literary, cultural, and historical issues

These approaches to reading and writing are revisited repeatedly in the

subse-quent thematic chapters through the discussion and close reading questions that

follow each piece of literature, as well as in the Conversation, Student Writing,

and Writer’s Craft sections at the end of each thematic chapter

The literature in this book is organized thematically to foster

classroom conversation and promote connections between

and among texts

The themes in this book — Home and Family, Identity and Culture, Love and

Relationships, Conformity and Rebellion, Art and the Artist, Tradition and

Progress, and War and Peace — are those our students have found engaging, and

they can easily be adapted for use with longer works of literature We know from

our own experience, as well as from research such as the National Endowment for

the Humanities “Reading at Risk” report, that many students today are not

read-ing poetry, fi ction, and drama with the same enthusiasm as previous generations;

however, students remain interested in big questions — social, political,

eco-nomic, aesthetic, and literary The thematic arrangement of this book offers them

the opportunity to consider such questions through the eyes of William

Shake-speare and Naomi Shihab Nye, Homer and Walt Whitman, Franz Kafka and

Gwendolyn Brooks, whose literary texts offer compelling perspectives on

com-plex human issues As students grapple with these issues, they read the literature

closely and even reread one text in light of another

Each thematic chapter includes a wide variety of classic

and contemporary fi ction, poetry, drama, nonfi ction,

and visual texts that are rich, rigorous, and appealing

to sixteen- to eighteen-year-olds

A Classic Text and a Modern Text of signifi cant literary merit begin and anchor

each thematic chapter These works invite students to delve deeply into the theme,

forming a foundation for interpreting the stories and poems in the rest of the

chapter The Classic Texts challenge students to read literature from an earlier

time, written for a very different audience, with syntax and vocabulary that may

be unfamiliar These Classic Texts, which include such works as Heart of

Dark-ness, Hamlet, and The Importance of Being Earnest, enlarge students’ background

knowledge by offering windows into other times and other worlds The Modern

Texts range from selections written by late twentieth-century writers, such as

James Baldwin and Flannery O’Connor, to pieces written by celebrated

contem-porary authors such as Edwidge Danticat and Jhumpa Lahiri

The Classic and Modern Texts are followed by a collection of short stories and poems that span the ages, drawing from diverse authors who offer varying

interpretations of the chapter’s theme Bridging the old and new emphasizes that

many questions and issues — about the nature of war, or the role of the artist, for

example — have captivated and puzzled humanity through the ages and across

cultures Contemporary literary voices such as Billy Collins, Sandra Cisneros, and

Sherman Alexie are living proof that these issues continue to be vital

Probing questions after each selection guide students’ reading

and scaffold their emerging interpretation of the works.

The Classic and Modern Texts are followed by these types of questions:

• Questions for Discussion invite students to investigate the text, probing

the work for meaning, and direct students’ attention to important ideas in the story, poem, or play

and artistic aspects of the work Responding to these questions will help students begin to analyze the tools writers employ to achieve an effect and prepare them for the kinds of essay and multiple-choice questions they will face on exams

• Suggestions for Writing offer students multiple opportunities to use

ing to explore their developing understanding of a text In every set of ing suggestions, students are offered one or more questions resembling those on the AP exam, and in some cases students are asked to try their hand at the techniques the author has used

writ-Other selections in the book are accompanied by Exploring the Text questions

that call for close careful reading and ask students to discuss and interpret the

work These questions allow students to practice what they have learned in the

opening chapters and to broaden their experience of literature Suggestions

for Writing at the end of each chapter are prompts for longer writing projects

Most require the use of multiple literary sources — an important skill in

col-lege classes

One pair of poems in each thematic chapter provides practice

in comparison and contrast, a key Advanced Placement

Literature skill

The paired poems encourage students to explore different types of connections,

whether the poems have similar topics, rely on similar allusions, represent

differ-ent perspectives on the same subject, or even express similar emotions through

different styles These pairs help students go beyond surface similarities in order

to understand both poems in greater depth

Visual texts in each thematic chapter help students develop

visual literacy and expand their analytical vocabulary

Every chapter features a painting or photograph related to the chapter’s theme with

supporting Exploring the Text questions that invite students to analyze the images

with the same analytical tools that they use for literary texts In addition to exposing

students to fi ne art and photography, these pieces give visual learners and students

gifted with an artistic eye a chance to shine In some chapters, we have even paired a

visual text with a poem; for example, in the chapter on Love and Relationships, we

have paired Gustav Klimt’s painting The Kiss with Lawrence Ferlinghetti’s poem

“Short Story on a Painting of Gustav Klimt.” Such pairings offer students the

oppor-tunity to compare treatments of a theme across different media

The Conversation sections in each thematic chapter ask

students to apply high-level thinking skills to a collection

of fi ction, poetry, nonfi ction, and visual texts

Synthesizing ideas is one of the highest levels of cognition Some students may have

been introduced to this skill in an Advanced Placement English Language and

Composition class in preparation for the synthesis essay question Here, we ask

stu-dents to use that same skill to explore a variety of literary, cultural, and historical

issues The topics and texts range in diffi culty from familiar and high-interest topics

such as “Courtship: The Rules of Engagement” and “The Lure and Language of

Food” to more academic inquiries such as “Seamus Heaney: The Responsibility of

the Artist” and “The Legacy of Colonialism.” Through a series of questions and

writing prompts, students are invited to enter the conversation and express their

viewpoints on the subject in light of the readings

Writer on Writing interviews in each thematic chapter were

conducted exclusively for Literature & Composition, giving

students a unique look into an author’s world

The author interviews offer students a glimpse of who the authors are and why

they wrote what they wrote For instance, in the Love and Relationships chapter,

students can read how Annie Finch wrote her poem “Coy Mistress” in an attempt

to “channel the coy mistress herself and write in a way she would have written had

she responded to [Andrew] Marvell.” Hearing professional writers discuss their

composing processes helps students put their own trials at the keyboard in

perspec-tive Fine writing doesn’t happen magically; it is the product of conscious effort and

constant practice Learning that published authors grapple with unwieldy ideas,

rethink organizational structures, and revise their work repeatedly can be

eye-opening for young writers

Student Writing in each thematic chapter is accompanied

by questions to help guide revision

Students often fi nd it diffi cult to fi gure out how to improve their writing They

are told to revise, but how? Revision entails much more than correcting

mechani-cal errors; it requires a careful examination of whether the words clearly

commu-nicate the ideas, the syntax creates the right emphasis, and the tone is appropriate

for the audience One method for assisting students in this process is to provide

them with sample student essays that require revision and to ask them to refl ect

on the changes needed for improvement Each chapter in Literature &

Composi-tion offers students a work-in-progress essay written by a high school or fi rst-year

college student, with accompanying questions that direct their attention to the

kinds of alterations that can turn a C or B paper into an A

The Writer’s Craft—Close Reading section in each thematic

chapter breaks down the close reading process to explore

how a writer uses elements of style to create meaning

Focusing on particular aspects of writing — connotation; specialized, archaic, and

unfamiliar diction; irony; tone; fi gurative language; syntax; and imagery — this

section offers students explanations of these elements using examples taken from

the readings in the chapter For instance, scrutinizing how Henry James, Salman

Rushdie, and Gerard Manley Hopkins employ syntax to convey meaning deepens

students’ understanding of how literary texts work The exercises that follow give

students fi rsthand experience with the concepts and practice in analyzing works

for a specifi c element of style, before inviting them to try out the technique in their

own writing

Ancillaries

The Literature & Composition T EACHER ’ S M ANUAL

This helpful manual offers a wealth of resources for teachers of all levels It includes

insightful responses to the questions following each reading, suggested approaches

to each thematic chapter and to the Classic and Modern Texts, teaching strategies

for each feature in the thematic chapters, as well as sample multiple-choice and

AP-style essay prompts Written by leaders in the AP Literature and Composition

community — including the Literature & Composition author team along with

Lance Balla, Shirley Counsil, Ellen Greenblatt, Minaz Jooma, Skip Nicholson, and

Ed Schmieder — this Teacher’s Manual is an in-depth and indispensable guide for

teaching a successful AP Literature course

ISBN-10: 0-312-61726-7; ISBN-13: 978-0-312-61726-4

Student Center for Literature

& Composition

This resource includes connections to online audio and video related to the

read-ings in Literature & Composition, as well as access to Re:Writing for Literature,

which gathers in one place Bedford/St Martin’s most popular free Web resources

for literature Thousands of students and instructors already rely on these

resources: illustrated tutorials for the close reading of stories, poems, and plays;

links to information on literary authors; quizzes on literary works; a glossary of

literary terms; MLA-style sample papers; and tools for fi nding and citing sources

Re:Writing for Literature is completely free and open (no codes required) to ensure

access for all students

bedfordstmartins.com/literatureandcomp

Acknowledgments

We would like to thank the talented team at Bedford/St Martin’s We’ve relied

upon their expertise, enjoyed their enthusiasm, and appreciated their

encourage-ment more than we can say Their support started at the top with the vision of

president Joan Feinberg and her exceptional team of editorial director Denise

Wydra, editor in chief Karen Henry, director of marketing Karen Soeltz, director

of development Erica Appel, and senior executive editor Steve Scipione We are

grateful that Nancy Perry has stayed with us even though her responsibilities as

editorial director of custom publishing have pulled her in other directions We

salute Bill Imbornoni, senior project editor, and freelance editors Jan Weber and

Anne Stameshkin for their patience and keen editorial eyes To say a simple thanks

to Dan McDonough, senior marketing manager, is to deal in understatement His

unfl agging determination and creativity sustained us throughout the project We

also send a heartfelt thanks to Lisa Kozempel, high school marketing manager, for

all the many ways she has gone above and beyond to guide this project And to our

editor Nathan Odell, we give thanks for being a cheerleader, taskmaster, diplomat,

advocate and chief skeptic at once, perfectionist, and best of friends — as well as our

“dear reader.” We are grateful to the reviewers who always kept us anchored in the

world of the classroom reality and generously shared their amazing experience

and expertise: Lance Balla, Barbara Bloy, Barbra A Brooks-Barker, Caryl Catzlaff,

Jolinda Collins, Shirley Counsil, Cathy A D’Agostino, Peter Drewniany, Carol

Elsen, Michael Feuer, Kelly E Guilfoil, David Herring, Erica Jacobs, Marie Leone

Meyer, Skip Nicholson, Frazier L O’Leary Jr., Linda A Pavich, Bill Pell, Catherine

Pfaff, Sally P Pfeifer, Amy Regis, Linda Rood, Edward Schmieder, Conni Shelnut,

Deborah Shepard, Pat Sherbert, Doranna Tindle, Luke Wiseman, Carol

Yoakley-Terrell, and David Youngblood We are deeply grateful for spouses, children, friends,

and family who have supported our efforts, given up their weekends and evenings

to advise us, and kept the faith that this project was absolutely worthwhile and

would eventually be fi nished!

Finally, we would like to thank our students over the years, including more than a few who have become admirable teachers themselves, for honoring the

tradition of reading and writing that gives meaning to our lives

This is the book we committed ourselves to developing for you and your dents We’ve brought to the task our many years of working with high school and

stu-college students as well as our deep love of literature, reading, and writing We

hope Literature & Composition helps you and your students, and that you enjoy

using it as much as we enjoyed writing it

Best Wishes,Carol JagoRenée H SheaLawrence ScanlonRobin Dissin Aufses

Preface vii Contents by Genre xxxi

1 THINKING ABOUT LITERATURE 1

Emily Dickinson, Tell all the Truth but tell it slant — 2 Stephen Dunn, The Sacred 2

William Shakespeare, When my love swears

that she is made of truth 3

David Clewell, Vegetarian Physics 3

Why Study Literature? 4

Elizabeth Alexander, Praise Song for the Day 4 Charles Schulz, Peanuts (cartoon) 6

What Makes an Effective Reader? 8

David Ignatow, The Bagel 8 Albert Goldbarth, Shawl 9 Billy Collins, Introduction to Poetry 10 Sherman Alexie, from Superman and Me 11 Franz Wright, Learning to Read 12

Approaching Literature 12

Robert Frost, “Out, Out —” 13

Experience 13 Analysis 14 Extension 15

Julia Alvarez, Snow 16

2 CLOSE READING Analyzing Poetry

and Passages of Fiction 19

What Is Close Reading? 19First-Impression Questions 19

Willa Cather, from My Antonia 19

A E Housman, To an Athlete Dying Young 21

The Elements of Style 21

Diction 22 Figurative Language 22 Imagery 22

Syntax 23 Tone and Mood 23

A Sample Close Analysis 24

Eudora Welty, from Old Mr Marblehall 24

F Scott Fitzgerald, from The Great Gatsby 25

Special Considerations for Reading Poetry Closely 26

Rhyme 26 Meter 26 Form 27 Poetic Syntax 28 Sound 28

William Carlos Williams, The Red Wheelbarrow 28 John Keats, Bright Star, would I were stedfast

as thou art — 30

A Sample Close Analysis 31

Robert Herrick, Delight in Disorder 31 Simon Ortiz, My Father’s Song 32

Talking with the Text 33

Think Aloud 33

Christina Georgina Rossetti, Promises

like Pie-Crust 34 Annotation 35

William Shakespeare, When, in disgrace with Fortune

and men’s eyes 36 Graphic Organizer 37

Nathaniel Hawthorne, from The Scarlet Letter 40

From Analysis to Essay: Writing a Close Analysis Essay 41

Yusef Komunyakaa, Slam, Dunk, & Hook 41

Analyzing 42 Developing a Thesis Statement 44 Organizing a Close Analysis Essay 45 Integrating Quotations 46

Documenting Sources 46

A Sample Close Analysis Essay 46

(student writing) 46

Edward Hirsch, Fast Break 49

Working with Two Texts: The Comparison and Contrast Essay 50

Developing a Thesis Statement 51 Organizing a Comparison and Contrast Essay 52 Transitions 54

Documenting Sources 55

A Sample Comparison and Contrast Essay 55

William Stafford, Traveling through the Dark 57 Maxine Kumin, Woodchucks 58

3 THE BIG PICTURE Analyzing Fiction and Drama 59

Point of View 73

Dinaw Mengestu, from The Beautiful Things

That Heaven Bears 74

Mark Twain, from The Adventures of Huckleberry Finn 75 Katherine Mansfi eld, from Miss Brill 76

Shirley Jackson, from The Lottery 77 Virginia Woolf, from Mrs Dalloway 77 Brad Watson, Seeing Eye 78

Suzanne Berne, from A Crime in the Neighborhood 81 Mary Shelley, from Frankenstein 82

Colm Tóibín, from Brooklyn 83

Symbol 84 Theme 85

Edward P Jones, The First Day 85 Jamaica Kincaid, Girl 91

Special Considerations for Analyzing Drama 92

Plot 92 Character 93

George Bernard Shaw, from Pygmalion 93 William Shakespeare, from Othello, the Moor of Venice 95

Setting 96

Henrik Ibsen, from A Doll’s House 96 Lorraine Hansberry, from A Raisin in the Sun 97

Symbol 98

D L Coburn, from The Gin Game 99

Terrence McNally, Andre’s Mother 100

From Analysis to Essay: Writing an Interpretive Essay 102

Susan Glaspell, Trifl es 102

Analyzing Literary Elements 111 Developing a Thesis Statement 112 Planning an Interpretive Essay 115 Supporting Your Interpretation 117

A Sample Interpretive Essay 118

Aneyn M O’Grady, Student Essay on Trifl es 119

4 ENTERING THE CONVERSATION 123

CONVERSATION Coming to America 124

Emma Lazarus, The New Colossus (poetry) 125

Lewis W Hine, Playground in Tenement Alley, Boston,

in America (nonfi ction) 143

Writing an Essay Using Multiple Texts 146

Developing a Thesis Statement 147 Organizing an Essay Using Multiple Texts 149 Using Literary Texts as Evidence 150

Integrating Quotations 152 Including Personal Experience as Evidence 156

A Sample Essay Using Multiple Texts 157

“The New Colossus” in America Today (student writing) 157

5 HOME AND FAMILY 161

Happy families are all alike; every unhappy family is unhappy

in its own way. — Leo Tolstoy, Anna Karenina

Helena María Viramontes on Writing 278

May-lee Chai, Saving Sourdi 281

Sharon Olds, Rite of Passage 313 Linda Pastan, Marks 315 Mary Oliver, Wild Geese 316 Eamon Grennan, Pause 317 Li-Young Lee, The Hammock 319 Kevin Young, Cousins 321

Paired Poems

Eavan Boland, The Pomegranate 323 Rita Dove, The Bistro Styx 326

VISUAL TEXT

Jacob Lawrence, A Family 329

CONVERSATION The Lure and Language of Food 331

Vincent Van Gogh, The Potato-Eaters (painting) 332 Ralph Ellison, I Yam What I Am (fi ction) 333 Naomi Shihab Nye, My Father and the Figtree (poetry) 337 Laura Esquivel, January: Christmas Rolls (fi ction) 339 Lisa Parker, Snapping Beans (poetry) 347

Chris Offutt, Brain Food (nonfi ction) 349 Geeta Kothari, If You Are What You Eat, Then What Am I?

(nonfi ction) 351

STUDENT WRITING Comparison and Contrast 360

THE WRITER’S CRAFT — CLOSE READING Connotation 362

6 IDENTITY AND CULTURE 367

No man, for any considerable period, can wear one face to himself, and another to the multitude, without fi nally getting bewildered as to which may be the true — Nathaniel Hawthorne, The Scarlet Letter

Emily Dickinson, I’m Nobody! Who are you? 501

E E Cummings, the Cambridge ladies who live in furnished souls 502 Countee Cullen, Heritage 503

Dylan Thomas, Fern Hill 508 Gwendolyn Brooks, We Real Cool 510 Mahmoud Darwish, Identity Card 513 Kamau Brathwaite, Ogun 515 Gary Soto, Mexicans Begin Jogging 518 Sherman Alexie, The Powwow at the End of the World 519 Julia Alvarez, First Muse 521

Nathalie Handal, Caribe in Nueva York 523

Nathalie Handal on Writing 525

Paired Poems

Elizabeth Barrett Browning, To George Sand: A Desire 528

VISUAL TEXTS

Frida Kahlo, Self-Portrait on the Borderline between Mexico

and the United States 530

Frida Kahlo, Self-Portrait Dedicated to Leon Trotsky 532

CONVERSATION The Legacy of Colonialism 533

The Colonization of Africa (map) 533

Rudyard Kipling, The White Man’s Burden (poetry) 534

H T Johnson, The Black Man’s Burden (poetry) 536 Doris Lessing, The Old Chief Mshlanga (fi ction) 538 Felix Mnthali, The Stranglehold of English Lit (poetry) 547 Chinua Achebe, An Image of Africa (nonfi ction) 548 Binyavanga Wainaina, How to Write about Africa (nonfi ction) 559

STUDENT WRITING Close Reading Fiction 563

THE WRITER’S CRAFT — CLOSE READING

Specialized, Archaic, and Unfamiliar Diction 565

SUGGESTIONS FOR WRITING Identity and Culture 571

7 LOVE AND RELATIONSHIPS 573

Ay me! for aught that I could ever read, Could ever hear by tale or history, The course of true love never did run smooth

— William Shakespeare, A Midsummer Night’s Dream

CLASSIC TEXT

Oscar Wilde, The Importance of Being Earnest: A Trivial Comedy

for Serious People 574

Edna St Vincent Millay, Love is not all 674 Margaret Atwood, Siren Song 676

Elizabeth Bishop, One Art 677 Robert Penn Warren, True Love 679 Billy Collins, Weighing the Dog 681 Jane Hirshfi eld, This was once a love poem 682

Paired Poems

William Shakespeare, My mistress’ eyes are nothing

like the sun 683

Pablo Neruda, Mi fea, Soneta XX 684 Pablo Neruda, My ugly love, Sonnet XX 685

VISUAL TEXT

Gustav Klimt, The Kiss 687 Lawrence Ferlinghetti, Short Story on a Painting

of Gustav Klimt (poetry) 688

CONVERSATION Courtship: The Rules of Engagement 690

Andreas Capellanus, from The Art of Courtly Love

(nonfi ction) 691

Andrew Marvell, To His Coy Mistress (poetry) 693 Annie Finch, Coy Mistress (poetry) 694

Annie Finch on Writing 695

Charles Dickens, from Our Mutual Friend (fi ction) 697

E E Cummings, somewhere I have never travelled, gladly beyond

STUDENT WRITING Analyzing Irony in Drama 709

THE WRITER’S CRAFT — CLOSE READING Irony 711

SUGGESTIONS FOR WRITING Love and Relationships 717

8 CONFORMITY AND REBELLION 719

Not all those who wander are lost — J R R Tolkien, The Lord

POETRY

George Herbert, The Collar 915 Percy Bysshe Shelley, Song: To the Men of England 917 Emily Dickinson, Much Madness is divinest Sense — 919 Wallace Stevens, Disillusionment of Ten O’clock 920

E E Cummings, anyone lived in a pretty how town 921 Nazim Hikmet, On Living 923

Dylan Thomas, Do not go gentle into that good night 926 Anne Sexton, Her Kind 927

Dudley Randall, Booker T and W.E.B 929 Sandra Gilbert, Sonnet: The Ladies’ Home Journal 931 Lucille Clifton, Homage to My Hips 932

Allen Ginsberg, Is About 933 Carol Ann Duffy, Penelope 935

Paired Poems

Matthew Prior, An Epitaph 937

W H Auden, The Unknown Citizen 939

VISUAL TEXT

Book Covers for Hamlet 941

CONVERSATION The Metamorphosis: Interpretations

and Transformations 944

Franz Kafka, The Metamorphosis (novella) 945

Franz Kafka, To Max Brod (letter) 978

Franz Kafka, To Kurt Wolff Verlag (letter) 980 David Zane Mairowitz and Robert Crumb, from Kafka

(graphic essay) 981

Peter Kuper, from The Metamorphosis (graphic novel) 988

Peter Kuper on The Metamorphosis 1014

STUDENT WRITING Close Reading Drama 1019

THE WRITER’S CRAFT — CLOSE READING Tone 1021

SUGGESTIONS FOR WRITING Conformity and Rebellion 1029

9 ART AND THE ARTIST 1031

Art for art’s sake? I should think so, and more so than ever at the present time It is the one orderly product which our middling race has produced

It is the cry of a thousand sentinels, the echo from a thousand labyrinths,

it is the lighthouse which cannot be hidden it is the best evidence we can have of our dignity — E M Forster

Alexander Pope, Sound and Sense 1095 Samuel Taylor Coleridge, Kubla Khan; or, A Vision in a Dream 1096 William Wordsworth, London, 1802 1099

John Keats, On the Sonnet 1100 John Keats, Ode on a Grecian Urn 1102 Robert Browning, My Last Duchess 1104 Claude McKay, The Harlem Dancer 1106 Wallace Stevens, Thirteen Ways of Looking

at a Blackbird 1108

D H Lawrence, Piano 1111 Frank O’Hara, The Day Lady Died 1112 Mary Oliver, Singapore 1113

Billy Collins, The Blues 1115

Paired Poems

Edward Hopper, Nighthawks (painting) 1117 Ira Sadoff, Hopper’s “Nighthawks” (1942) 1118 Susan Ludvigson, Inventing My Parents: After Edward Hopper’s Nighthawks, 1942 1119

VISUAL TEXT

Edgar Degas, The Laundresses 1121 Eavan Boland, Degas’s Laundresses (poetry) 1122

Eavan Boland on Writing 1124

CONVERSATION Seamus Heaney: The Responsibility

Seamus Heaney, Requiem for the Croppies (poetry) 1146 Seamus Heaney, Bogland (poetry) 1147

Seamus Heaney, The Tollund Man (poetry) 1148 Seamus Heaney, Tollund (poetry) 1150

Seamus Heaney, A Call (poetry) 1151 Seamus Heaney, Postscript (poetry) 1152

STUDENT WRITING Close Reading Poetry 1154

THE WRITER’S CRAFT — CLOSE READING

Figurative Language 1158

SUGGESTIONS FOR WRITING Art and the Artist 1163

10 TRADITION AND PROGRESS 1165

The world owes all its onward impulses to men ill at ease The happy man inevitably confi nes himself within ancient limits

William Butler Yeats, The Second Coming 1272 James Wright, Autumn Begins in Martins Ferry, Ohio 1273 Mitsuye Yamada, A Bedtime Story 1274

May Swenson, Goodbye, Goldeneye 1276

Chitra Banerjee Divakaruni, Indian Movie, New Jersey 1278 Stephen Dunn, Charlotte Brontë in Leeds Point 1280

Aimee Nezhukumatathil, When All of My Cousins Are Married 1282

Aimee Nezhukumatathil on Writing 1283

Derek Walcott, Forty Acres 1287

Paired Poems

Walt Whitman, Mannahatta 1288 Carl Sandburg, Chicago 1290

VISUAL TEXT

Kehinde Wiley, Portrait of Andries Stilte II 1292

CONVERSATION The Harlem Renaissance: Progress within Tradition? 1294

James Weldon Johnson, Preface to The Book of American

Negro Poetry (nonfi ction) 1295

Langston Hughes, The Negro Artist and the Racial Mountain

(nonfi ction) 1296

Langston Hughes, Jazzonia (poetry) 1300 Claude McKay, The White House (poetry) 1301 Zora Neale Hurston, Spunk (fi ction) 1302 Aaron Douglass, The Spirit of Africa (woodcut) 1307 Arna Bontemps, Nocturne at Bethesda (poetry) 1308 Jessie Redmon Fauset, from Plum Bun: A Novel without a Moral

(fi ction) 1310

STUDENT WRITING Working with Sources 1314

THE WRITER’S CRAFT — CLOSE READING Syntax 1317

SUGGESTIONS FOR WRITING Tradition and Progress 1323

11 WAR AND PEACE 1325

Do dreams offer lessons? Do nightmares have themes, do we awaken and analyze them and live our lives and advise others as a result? Can the foot soldier teach anything important about war, merely for having been there? I think not He can tell war stories.

— Tim O’Brien, If I Die in a Combat Zone

Bharati Mukherjee, The Management of Grief 1400

POETRY

Homer, The Champion Arms for Battle, from Book 19

of the Iliad 1413 William Shakespeare, “If we are marked to die ” from Henry V,

Act IV, scene iii 1415

Robert Southey, The Battle of Blenheim 1417 Walt Whitman, Vigil strange I kept on the fi eld one night 1420 Herman Melville, Shiloh: A Requiem (April, 1862) 1421 Siegfried Sassoon, Lamentations 1423

Wilfred Owen, Dulce et Decorum Est 1424 Anna Akhmatova, The First Long-Range Artillery

Brian Turner, Sadiq 1434

Brian Turner on Writing 1435

Natasha Trethewey, Elegy for the Native Guards 1437

Paired Poems

Wilfred Owen, The Parable of the Old Man

and the Young 1439

Wilfred Owen, Arms and the Boy 1440

VISUAL TEXT

New York Times, Boy Fascist 1441

CONVERSATION Finding Peace 1443

Alfred, Lord Tennyson, Ulysses (poetry) 1443 Thomas Hardy, A Wife in London (December, 1899) (poetry) 1446 Ernest Hemingway, Soldier’s Home (fi ction) 1447

Yusef Komunyakaa, Facing It (poetry) 1453 Maya Lin, from Boundaries (nonfi ction) 1455 Department of Defense, Fallen Soldiers Arriving at Dover Air Force

Base (photography) 1457

Rachelle Jones, Satisfy My Soul (blog post) 1459

STUDENT WRITING Analyzing Theme in Drama 1461

THE WRITER’S CRAFT — CLOSE READING Imagery 1463

SUGGESTIONS FOR WRITING War and Peace 1469

MLA Guidelines for a List of Works Cited 1473 Glossary of Terms 1479

Acknowledgments 1510 Index of First Lines 1519 Index of Authors and Titles 1522

T C Boyle, Admiral 887 Raymond Carver, Cathedral 1079 Willa Cather, from My Antonia 19 May-lee Chai, Saving Sourdi 281 Anton Chekhov, The Lady with the Little Dog 634 Sandra Cisneros, Woman Hollering Creek 623 Joseph Conrad, Heart of Darkness 369 Edwidge Danticat, The Book of the Dead 835 Don DeLillo, Videotape 1090

Charles Dickens, from Hard Times 66 Charles Dickens, from Our Mutual Friend 697 Ralph Ellison, I Yam What I Am 333

Laura Esquivel, January: Christmas Rolls 339 William Faulkner, A Rose for Emily 657 Jessie Redmon Fauset, from Plum Bun: A Novel

without a Moral 1310

F Scott Fitzgerald, Babylon Revisited 250

F Scott Fitzgerald, from The Great Gatsby 25 Gabriel García Márquez, One of These Days 61 Dagoberto Gilb, Love in L.A 664

Charlotte Perkins Gilman, The Yellow Wallpaper 1066 Thomas Hardy, from Tess of the D’Urbervilles 72 Nathaniel Hawthorne, from The Scarlet Letter 40

Nathaniel Hawthorne, Young Goodman Brown 452 Ernest Hemingway, Soldier’s Home 1447

Zora Neale Hurston, Spunk 1302 Shirley Jackson, from The Lottery 77 Henry James, Daisy Miller 1166 Gish Jen, Who’s Irish? 1250 Edward P Jones, The First Day 85 James Joyce, The Dead 162 Franz Kafka, The Metamorphosis 945 Jamaica Kincaid, Girl 91

Jhumpa Lahiri, Interpreter of Maladies 434 Doris Lessing, The Old Chief Mshlanga 538 Katherine Mansfield, Bliss 646

Katherine Mansfield, from Miss Brill 76 Herman Melville, Bartleby, the Scrivener: A Story of Wall Street 854 Ana Menéndez, In Cuba I Was a German Shepherd 481

Dinaw Mengestu, from The Beautiful Things That Heaven Bears 74 Bharati Mukherjee, The Management of Grief 1400

Joyce Carol Oates, Where Are You Going, Where Have

You Been? 467

Tim O’Brien, The Things They Carried 1371 Flannery O’Connor, A Good Man Is Hard to Find 1211 Tillie Olsen, I Stand Here Ironing 265

George Orwell, from 1984 71 Cynthia Ozick, The Shawl 1396 Luigi Pirandello, War 1387 Edgar Allan Poe, from The Masque of the Red Death 67 Henry Roth, from Call It Sleep 70

Salman Rushdie, The Free Radio 1244 Mary Shelley, from Frankenstein 82 Muriel Spark, The First Year of My Life 1390 John Steinbeck, from The Grapes of Wrath 69 Amy Tan, Two Kinds 133

Colm Tóibín, from Brooklyn 83 Mark Twain, from The Adventures of Huckleberry Finn 75 John Updike, A & P 462

Helena María Viramontes, The Moths 272 Kurt Vonnegut, Harrison Bergeron 881 Alice Walker, Everyday Use 1226 Brad Watson, Seeing Eye 78 Eudora Welty, from Old Mr Marblehall 24 Virginia Woolf, from Mrs Dalloway 77

Matthew Arnold, Dover Beach 1265 Margaret Atwood, Siren Song 676

W H Auden, The Unknown Citizen 939 Thomas Bastard, De Puero Balbutiente 295 Elizabeth Bishop, One Art 677

William Blake, London 1264 Eavan Boland, Degas’s Laundresses 9, 1122 Eavan Boland, The Pomegranate 323 Arna Bontemps, Nocturne at Bethesda 1308 Anne Bradstreet, Before the Birth of One of Her Children 298 Kamau Brathwaite, Ogun 515

Gwendolyn Brooks, We Real Cool 510 Elizabeth Barrett Browning, To George Sand: A Desire 528 Elizabeth Barrett Browning, To George Sand: A Recognition 529 Robert Browning, My Last Duchess 1104

Lord Byron, She walks in Beauty 673 David Clewell, Vegetarian Physics 3 Lucille Clifton, Homage to My Hips 932 Judith Ortiz Cofer, The Latin Deli 141 Samuel Taylor Coleridge, Kubla Khan; or, A Vision in a Dream 1096 Billy Collins, The Blues 1115

Billy Collins, Introduction to Poetry 10 Billy Collins, Weighing the Dog 681 Countee Cullen, Heritage 503

E E Cummings, anyone lived in a pretty how town 921

E E Cummings, the Cambridge ladies who live in furnished souls 502

E E Cummings, somewhere I have never travelled, gladly beyond 698 Mahmoud Darwish, Identity Card 513

Emily Dickinson, Crumbling is not an instant’s Act 1268 Emily Dickinson, I’m Nobody! Who are you? 501

Emily Dickinson, Tell all the Truth but tell it slant — 2 Chitra Banerjee Divakaruni, Indian Movie, New Jersey 1278 John Donne, The Flea 670

Rita Dove, The Bistro Styx 326

Carol Ann Duffy, Penelope 935 Stephen Dunn, Charlotte Brontë in Leeds Point 1280 Stephen Dunn, The Sacred 2

T S Eliot, The Love Song of J Alfred Prufrock 1033 Ralph Waldo Emerson, The Apology 499

Lawrence Ferlinghetti, Short Story on a Painting of Gustav Klimt 688 Annie Finch, Coy Mistress 694

Robert Frost, Mending Wall 1269 Robert Frost, “Out, Out —” 13 Sandra Gilbert, Sonnet: The Ladies’ Home Journal 931 Allen Ginsberg, Is About 933

Albert Goldbarth, Shawl 9 Thomas Gray, Elegy Written in a Country Churchyard 1259 Eamon Grennan, Pause 317

Nathalie Handal, Caribe in Nueva York 523 Thomas Hardy, A Wife in London (December, 1899) 1446 Robert Hayden, Those Winter Sundays 308

Seamus Heaney, Bogland 1147 Seamus Heaney, A Call 1151 Seamus Heaney, Digging 1145 Seamus Heaney, Postscript 1152 Seamus Heaney, Requiem for the Croppies 1146 Seamus Heaney, Tollund 1150

Seamus Heaney, The Tollund Man 1148 George Herbert, The Collar 915 Robert Herrick, Delight in Disorder 31 Robert Herrick, To the Virgins, to Make Much of Time 672 Nazim Hikmet, On Living 923

Edward Hirsch, Fast Break 49 Jane Hirshfield, This was once a love poem 682 Homer, The Champion Arms for Battle, from Book 19 of the Iliad 1413 Gerard Manley Hopkins, God’s Grandeur 1267

A E Housman, To an Athlete Dying Young 21 Langston Hughes, Jazzonia 1300

Langston Hughes, Let America Be America Again 127 Langston Hughes, Mother to Son 305

David Ignatow, The Bagel 8 Randall Jarrell, The Death of the Ball Turret Gunner 1427

H T Johnson, The Black Man’s Burden 536 Ben Jonson, On My First Son 297

John Keats, Bright Star, would I were stedfast as thou art — 30 John Keats, Ode on a Grecian Urn 1102

John Keats, On the Sonnet 1100 Zareh Khrakhouni, Measure 700 Rudyard Kipling, The White Man’s Burden 534 Yusef Komunyakaa, Facing It 1453

Yusef Komunyakaa, Slam, Dunk, & Hook 41 Maxine Kumin, Woodchucks 58

D H Lawrence, Piano 1111 Emma Lazarus, The New Colossus 125 Li-Young Lee, The Hammock 319 Susan Ludvigson, Inventing My Parents: After Edward Hopper’s Nighthawks, 1942 1119

Andrew Marvell, To His Coy Mistress 693 Claude McKay, The Harlem Dancer 1106 Claude McKay, The White House 1301 Herman Melville, Shiloh: A Requiem (April 1862) 1421 Edna St Vincent Millay, Love is not all 674

John Milton, When I consider how my light is spent 495 Felix Mnthali, The Stranglehold of English Lit 547 Pat Mora, Immigrants 132

Pablo Neruda, Mi fea, Soneta XX 684 Pablo Neruda, My ugly love, Sonnet XX 685 Aimee Nezhukumatathil, When All of My Cousins Are Married 1282 Naomi Shihab Nye, My Father and the Figtree 337

Frank O’Hara, The Day Lady Died 1112 Dwight Okita, In Response to Executive Order 9066: All Americans of

Japanese Descent Must Report to Relocation Centers 131

Sharon Olds, Rite of Passage 313 Mary Oliver, Singapore 1113 Mary Oliver, Wild Geese 316 Simon Ortiz, My Father’s Song 32 Wilfred Owen, Arms and the Boy 1440 Wilfred Owen, Dulce et Decorum Est 1424 Wilfred Owen, The Parable of the Old Man and the Young 1439 Lisa Parker, Snapping Beans 347

Linda Pastan, Marks 315 Sylvia Plath, Daddy 310 Alexander Pope, The Quiet Life 496 Alexander Pope, Sound and Sense 1095 Matthew Prior, An Epitaph 937 Dudley Randall, Booker T and W.E.B 929 Henry Reed, Naming of Parts 1428 Theodore Roethke, My Papa’s Waltz 307

Christina Georgina Rossetti, Promises like Pie-Crust 34 Ira Sadoff, Hopper’s “Nighthawks” (1942) 1118

Carl Sandburg, Chicago 1290 Siegfried Sassoon, Lamentations 1423 Anne Sexton, Her Kind 927

William Shakespeare, “If we are marked to die ” from Henry V,

Act IV, scene iii 1415

William Shakespeare, My mistress’ eyes are nothing like the sun 683 William Shakespeare, Since brass, nor stone, nor earth,

nor boundless sea 1153

William Shakespeare, When, in disgrace with Fortune and men’s eyes 36 William Shakespeare, When my love swears that she is made of truth 3 Percy Bysshe Shelley, Song: To the Men of England 917

Sir Philip Sidney, Leave me, oh Love, which reachest but to dust 669 Gary Soto, Mexicans Begin Jogging 518

Robert Southey, The Battle of Blenheim 1417 William Stafford, Traveling through the Dark 57 Wallace Stevens, Disillusionment of Ten O’clock 920 Wallace Stevens, Thirteen Ways of Looking at a Blackbird 1108 May Swenson, Goodbye, Goldeneye 1276

Wislawa Szymborska, The Terrorist, He Watches 1431 Alfred, Lord Tennyson, Ulysses 1443

Dylan Thomas, Do not go gentle into that good night 926 Dylan Thomas, Fern Hill 508

Natasha Trethewey, Elegy for the Native Guards 1437 Brian Turner, In the Leupold Scope 1468

Brian Turner, Sadiq 1434 Derek Walcott, Forty Acres 1287 Robert Penn Warren, True Love 679 Walt Whitman, Mannahatta 1288 Walt Whitman, Vigil strange I kept on the field one night 1420 Richard Wilbur, First Snow in Alsace 1429

William Wordsworth, London, 1802 1099 William Wordsworth, We Are Seven 299 William Wordsworth, The World Is Too Much with Us 498 Franz Wright, Learning to Read 12

James Wright, Autumn Begins in Martins Ferry, Ohio 1273 Sir Thomas Wyatt, They flee from me 667

Mitsuye Yamada, A Bedtime Story 1274 William Butler Yeats, A Prayer for My Daughter 302 William Butler Yeats, The Second Coming 1272 Kevin Young, Cousins 321

D L Coburn, from The Gin Game 99 Susan Glaspell, Trifles 102

Lorraine Hansberry, from A Raisin in the Sun 97

Terrence McNally, Andre’s Mother 100 William Shakespeare, Hamlet, Prince

of Denmark 720

William Shakespeare, from Macbeth 15 William Shakespeare, from Othello, the Moor of Venice 95 George Bernard Shaw, from Pygmalion 93

Sophocles, Antigone 1327 Oscar Wilde, The Importance of Being Earnest: A Trivial Comedy

for Serious People 574

August Wilson, Fences 195 August Wilson, from The Piano Lesson 98

Nonfi ction

Chinua Achebe, An Image of Africa 548 Sherman Alexie, from Superman and Me 11 Andreas Capellanus, from The Art of Courtly Love 691 Seamus Heaney, Crediting Poetry 1133

Seamus Heaney, from Feeling into Words 1130 Langston Hughes, The Negro Artist and the Racial

Mountain 1296

Anita Jain, Is Arranged Marriage Really Any Worse

Than Craigslist? 701

James Weldon Johnson, Preface to The Book of

American Negro Poetry 1295

Rachelle Jones, Satisfy My Soul 1459 Franz Kafka, To Kurt Wolff Verlag 980 Franz Kafka, To Max Brod 978 Geeta Kothari, If You Are What You Eat, Then What Am I? 351 Maya Lin, from Boundaries 1455

Bharati Mukherjee, Two Ways to Belong in America 143 Dennis O’Driscoll, from Stepping Stones, Interviews

with Seamus Heaney 1128

Chris Offutt, Brain Food 349 Binyavanga Wainaina, How to Write about Africa 559

Mexico and the United States 530

Gustav Klimt, The Kiss 687 Jacob Lawrence, A Family 329 Jacob Lawrence, Pool Parlor 512 Vincent Van Gogh, The Potato-Eaters 332 Kehinde Wiley, Portrait of Andries Stilte II 1292

Photographs

Department of Defense, Fallen Soldiers Arriving at Dover

Air Force Base 1457

Lewis W Hine, Playground in Tenement Alley, Boston 126 New York Times, Boy Fascist 1441

Woodcut

Aaron Douglas, The Spirit of Africa 1307

In the past, most people curled up with a book, whether on a sofa on a rainy day, under a tree on a sunny one, or under the covers with a flashlight Today, those scenes may sound downright quaint, when the very idea of “the book” is open

to debate With more and more books being digitized, people are starting to click

on a screen as often as they flip a page In fact, some believe that e-readers will

sup-plant the physical book, and the ads make a convincing argument: “Simple to use: no

computer, no cables, no syncing Buy a book and it is auto-delivered wirelessly in less

than one minute More than 250,000 books available” (amazon.com) Plus, there’s

no denying that having a text online, whether on a laptop or e-reader, could make

for efficient reading, with hyperlinks, access to search engines, built-in dictionaries,

and other bells and whistles Literature has also moved from the page to the stage as

spoken-word poetry has become a global phenomenon, with large audiences of all

ages, lively competitions, and stars with enthusiastic followings

Yet amid stories that “the book” will become a cultural artifact, literature lives

on Leo Tolstoy’s Anna Karenina, written in the late 1800s, topped the best-seller

list in 2004, thanks to Oprah Winfrey and her book club More recently, sales of the

final installment of the Harry Potter series exceeded four hundred million copies

So whether you have a paperback, an audiobook, an e-text, or the author right in

front of you performing the work, what still seems to matter is, does the work hold

your interest? give you a break from your day-to-day life? inform you? challenge or

provoke you? or even entertain you?

There are stories or poems that don’t go beyond entertaining — they’re fun — and there’s nothing wrong with that But many of those works are probably not what we

would call “literature.” Of course, not everyone agrees on precisely what defines

litera-ture, but what we mean is a work that rewards the time, concentration, and

creativ-ity put into reading, rereading, exploring, analyzing, discussing, and interpreting it

Literary texts are ones we’re likely to remember — ones that may, in fact, influence who

we are, how we experience our world, and what truths guide our lives

Many writers believe that the truth of human experience is too complex, too dazzling, to be reduced to simple facts The poet Emily Dickinson suggests that any-

one attempting to understand or explain the nature of life would do well to adopt a

roundabout approach From her perspective, “Success in Circuit lies.”

Thinking about Literature

1