Like the first compact edition of Literature: An Introduction to Reading and Writing, the second compact edition
is a carefully chosen anthology. Most of the works here are by American, British, and Canadian authors, but ancient
and medieval writers are also represented, along with writers who lived in or came from Norway, Ceylon, and Indonesia.
In total, 208 authors are represented. One hundred twenty-four of the authors--roughly sixty per cent--were born
after 1900. Interestingly, of the writers born since 1935, twenty-six are women and twenty-six are men--a number
that dramatizes the increasingly vital importance of women in modern literature. The book includes a total of 334
separate works--forty-two stories, 280 poems, and twelve dramatic works. Each work is suitable for discussion either
alone or in comparison. Seven stories, thirty-seven poems, and two plays are new in this edition.
Readers will note that some of the new stories are classic, like those by Conrad, Forster, and Hardy, and some,
such as those by Bambara, Gilchrist, and Oates, are well on their way to becoming classic. The new stories complement
the thirty-five stories, such as those by Faulkner, Carver, Crane, Glaspell, Gilman, Hawthorne, Joyce, Laurence,
Porter, and Twain, that are retained from the first compact edition.
The anthology includes representative poems from late medieval times to our own day, including poets such as
Shakespeare, Gray, Wordsworth, Byron, Keats, Tennyson, Rossetti, Pound, and Eliot. The thirty-seven new poems represent
a wide variety of American and British poets. Most of these poets are widely recognized. Berry, Cowper, Queen Elizabeth
I, Chief Dan George, Hardy, Jacobsen, Levertov, Longfellow, Lux, Mueller, Van Duyn, and Wilbur come readily to
mind. More recent poets, most of them with multiple prizes and awards to their credit, are Collins, Gluck, Merwin,
Momaday, and Schnackenberg. Even with the many poems that are included for the first time, the second compact edition
of Literature: An Introduction to Reading and Writing, still retains 243 poems that were included in the first
compact edition. A poet new in the second compact edition is Michael Ondaatje, who achieved wide recognition because
of the many Academy awards received by the film version (1996) of his novel The English Patient. Chapter 19, the
poetic careers chapter, contains a generous sampling of poems by Dickinson, and Frost, as in the first compact
edition.
In the drama section, the plays newly included are the medieval Visitatio Sepulchri and Kauffmann's The More
the Merrier. These short plays, added to the ten plays retained from the first compact edition, increase the usefulness
of the entire section on drama as both an artistic and historical introduction to drama.
A BRIEF OVERVIEW OF THE SECOND COMPACT EDITION
The second compact edition reaffirms a principle to which Literature: Art Introduction to Reading and Writing
is dedicated--flexibility. The first compact edition has been used for introduction-to-literature courses, genre
courses, and both composition and composition-and-literature courses. Adaptability and flexibility have been the
keys to this variety. Instructors can use the book for classroom discussions, panel discussions, essay or paragraph-length
assignments, and special topics not covered in class. Students will find incentives for understanding and writing
about literature through questions, study and writing guides, and also through many suggestions for strengthening
their own writing--both on essays and examinations.
FICTION. The fiction section consists of ten chapters. Chapter 2 is a general introduction to fiction while
Chapters 3-9--the "topical" chapters central to each section of the book--introduce students to such
important topics as structure, character, point of view, and theme. Chapter 10 consists of five stories for additional
study and enjoyment.
POETRY. The ten poetry chapters are arranged similarly to the fiction chapters. Chapter 11 is introductory.
Chapters 12-19 deal with topics such as diction, symbolism, imagery, tone, and myth. Chapter 19 is the poetic careers
chapter, consisting of selections by Emily Dickinson and Robert Frost. Chapter 20 contains eighty-six poems for
additional study and enjoyment. Brief biographies of each of the anthologized poets is included in Appendix II
to make the poetry section parallel with the drama and fiction sections.
DRAMA. In the drama section Chapter 21 is introductory. Chapters 22 and 23 concern tragedy and comedy, the major
genres of drama. Chapter 24 is the "Plays for Additional Study and Enjoyment" chapter including major
plays by Henrik Ibsen, Langston Hughes, and Arthur Miller.
Six of the longer plays from the previous edition have been retained because they are important in an introductory
study of drama (Oedipus the King, Hamlet, A Midsummer Night's Dream, Death of a Salesman, Mulatto, A Dollhouse).
In an anthology of this scope, the six short plays (Am I Blue, The Bear, Before Breakfast, Tea Party, Visitatio
Sepulchri, The More the Merrier) are valuable because they may be covered in no more than one or two classroom
hours, and also because they may be enlivened by having parts read aloud and acted by students. Indeed, the Visitatio
Sepulchri and Kelley's Tea Party are brief enough to permit classroom reading and discussion in a single period.
ADDITIONAL FEATURES
THEMATIC TABLE of CONTENTS. To make the second compact edition of Literature: An Introduction to Reading and
Writing as flexible as possible, we have continued the Thematic Table of Contents included in the first compact
edition. In this table, which is located immediately following the organizational Contents, a number of thematic
topics are provided, such as Women and Men; Conformity and Rebellion; Women and Their Roles; Race, Ethnicity, and
Nationality; Endings and Beginnings; and Innocence and Experience. Under these topics, generous numbers of stories,
poems, and plays are listed (many in a number of categories), so that entire thematic units may be created should
instructors wish to use them.
QUESTIONS. Following each anthologized selection in the detailed chapters are study questions designed to help
students in their exploration and understanding of literature. Some questions are factual and may be answered quickly.
Others provoke extended thought and classroom discussion, and may also serve for both in-class and out-of-class
writing assignments. At the ends of twenty-three chapters we include a number of more general "Special Topics
for Writing and Argument about (Character, Symbolism, Tragedy, etc.)." A number of these are comparison-contrast
topics, and a number of them--at least one in each chapter--are assignments requiring creative writing (for example,
"Write a poem," or "Compose a short scene"). What is unique about these topics is that students
are asked not only to write creatively and argue cogently, but also to analyze their own creative processes. As
already indicated, the second compact edition contains questions designed to add a research component to the study
of the chapter topics.
NUMBERING. For convenient reference, we have adopted a regular style of numbering the selections by flues:
Stories: every fifth paragraph.
Poems: every fifth line.
Poetic plays: every fifth line, starting at 1 with each new scene and act.
Prose plays: every fifth speech, starting at 1 with each new scene and act.
DATES. To place the various works in historical context, we include the life dates for all authors. Along with
the title of each anthologized work, we list the year of publication.
GLOSSES. For the poetry and poetic plays, we provide brief marginal glosses wherever they are needed. For all
works, including poetry, we supply explanatory footnotes when more details are necessary. Words and phrases that
are glossed or footnoted are highlighted by a small degree sign. Footnotes are located according to line, paragraph,
or speech numbers.
SPECIAL WRITING TOPICS. In the second compact edition we have retained the section titled "Special Writing
Topics about Literature" which follows the drama section. This section contains four chapters (25-28) that
were formerly appendices, but on the advice of many readers they are now a main part of the book. These chapters,
which contain general literary assignments, are newly arranged to place emphasis on research and recent critical
theories.
THE GLOSSARY. In the discussions to the various chapters, key terms and concepts are boldfaced, and these are
gathered alphabetically and explained briefly, with relevant page numbers from the text, in the comprehensive glossary
following the appendices. Because the second compact edition of Literature: An Introduction. to Reading and Writing
may sometimes serve for reference purposes, the glossary is also intended for general use.
BOXED DISCUSSIONS WITHIN THE CHAPTERS. In Chapters 1, 5, 12, 14, 21, 25, and 28, separately boxed sections highlight
brief but essential discussions of a number of important and related matters. The topics chosen for this treatment--such
as the use of tenses in discussing a work, the use of authorial names, and the concept of decorum--were based on
the recommendations of instructors and students.
PHOTOGRAPHS AND ART REPRODUCTIONS. We also include a number of art reproductions and photographs. We hope that
these reproductions, together with others that instructors might add, will encourage comparison-and-contrast discussions
and essays about the relationship of literature and art.
FICTION AND DRAMATIZATION. To strengthen the connection between fiction and dramatization, a number of stories
are included that are available on videocassettes, which can be used as teaching tools for support and interpretation.
Discussions of some of the available videocassettes are included in the Instructor's Manual.
Revisions
There is little in the second compact edition that has not been reexamined, revised, or rewritten. Particularly
noteworthy are the general introduction (Chapter 1), the introduction to poetry (Chapter 11), and the introduction
to drama (Chapter 21), together with the introductory sections on Dickinson and Frost (Chapter 19), the chapters
on figures of speech (14) and poetic form, including descriptions of prosody (16), and the chapters on research
and taking examinations (25 and 27). Throughout, all subheads are no longer topics but have been fashioned into
complete sentences. This change is made in the hope that pointed sentences will enable students to assimilate the
following content more easily than before. The glossary has been corrected and amended in a number of places. Of
special importance in each of the main chapters are the sections "Questions for Discovering Ideas" and
"Strategies for Organizing Ideas," which have been revised in the light of the continuing goal to help
students concentrate on their writing assignments. In the second compact edition, recent MLA recommendations for
documenting electronic sources are illustrated in Appendix I.
READING AND WRITING NOW AND IN THE FUTURE
Because writing is a major mode of thinking, it is an essential reinforcement of reading. Students who write
about what they read learn twice, for as they plan and develop their writing they necessarily grow as thinkers.
Such a combined approach is the bedrock idea of the second compact edition of Literature: An Introduction to Reading
and Writing. Accordingly, this book, like the first compact edition, is dedicated throughout to the interlocking
processes of writing and reading. There is no chapter that does not contain abundant information and guides for
writing. Moreover, we do not simply say what can be done with a topic of literary study, but we also show ways
in which it might be done. In almost all the chapters a demonstrative student essay exemplifies the strategies
and methods brought out in the chapter. Following each of these essays is an analytical commentary showing how
the writing principles of the discussion have been carried out. The emphasis throughout these illustrative sections
is the openness of the writing process along with the unique nature of writing for each topic.
A logical extension (and a major hope) of this combined approach is that the techniques students acquire in
studying literature as a reading-writing undertaking will help them in every course they may ever take, and in
whatever profession they follow. Students will always read--if not the authors contained here, then other authors,
and certainly newspapers, legal documents, magazine articles, technical reports, business proposals, and much more.
Although students may never again be required to write about topics like setting, structure, or prosody, they will
certainly find a future need to write.
Indeed, the more effectively students learn to write about literature when taking their literature courses,
the better they will be able to write later on-no matter what the topic. It is undeniable that the power to analyze
problems and make convincing written and oral presentations is a major quality of leadership and success in all
fields. To acquire the skills of disciplined reading and strong writing is therefore the best possible preparation
that students can make for the future, whatever it may hold.
Summary
For Introduction to Literature courses; and 2nd semester Freshman Composition courses that emphasize writing
about literature.
This compact version of the best-selling Literature: An Introduction to Reading and Writing retains the dedication
to integrating unequalled writing about literature coverage throughout. It is dedicated throughout to the interlocking
processes of reading and writing. In addition to carefully chosen literary selections, each chapter contains detailed
information about the process of writing about literature, with hundreds of thought-provoking questions and sample
student essays.
Features :
NEW�Demonstrative essays�And many revised essays included in the former edition.
Shows students more clearly how the chapter topics may be treated in an essay format.
NEW�Illustrations and art reproductions�Integrated into the chapter discussions.
Encourages students to compare and contrast the relationship of literature and art.
NEW�Emphasis on women writers�Now 17 women represented in the 42-story selection.
Enables students to grasp the achievements and impact of female authors.
NEW�Revised chapter introductions�All have been reorganized, rewritten, and retitled for clarity.
Enables students more easily to grasp the concepts presented in each chapter.
NEW�A full discussion of the Globe Theatre in London�Of Shakespeare's Globe contrasted with photos of the new
Globe.
Emphasizes to students the importance of this landmark theatre, still in use today.
NEW�More poets�Includes poets from many perspectives, walks of life, and ethnic origins. New additions include
poems by Berry, Bishop, Collins, Durem, James Emanuel, Francis, Chief Dan George, Glück, Lux, Momaday, Ridler,
Schnackenberg, Updike, and Wilbur.
Gives students a deeper and more varied insight into poetry.
NEW�2 plays��The Visit to the Sepulchre� and �The More the Merrier� .
Enables instructors more easily to emphasize the history of the dramatic genre.
Writing about literature�Interlocks the reading and writing processes by discussing how each chapter relates
to the processes.
Helps students progress in their writing skills by showing a response to the work, raising questions about
the work, showing how to organize their thoughts, select details, and plan the essay.
Special Writing Topics about Literature�Places special emphasis on research writing and critical approaches
to literature.
Coaches students through some of the more difficult aspects of writing about literature.
Helpful quick-reference materials�A thorough Glossary of Terms, an alternate Thematic Table of Contents, and
a Chronological List of Authors are included in the text.
Provides students with easy-access reference guides. Gives instructors flexibility in selecting their curriculum.
Package�Instructors manual, Penguin novels, course study supplement.
Offers variety of package options.
Table of Contents
1. Introduction.
The Necklace, Guy de Maupassant.
Responding to Literature: Likes and Dislikes.
I. READING AND WRITING ABOUT FICTION.
2. Fiction: An Overview.
Stories for Study:
Neighbors, Raymond Carver. The Things They Carried, Tim O'Brien. Everyday Use, Alice Walker.
3. Plot and Structure: The Development and Organization of Stories.
Stories for Study:
The Three Strangers, Thomas Hardy. What I Have Been Doing Lately, Jamaica Kincaid. Blue Winds Dancing, Tom Whitecloud.
4. Characters: The People in Fiction.
Stories for Study:
Barn Burning, William Faulkner. A Jury of Her Peers, Susan Glaspell. Shopping, Joyce Carol Oates. Two Kinds, Amy
Tan.
5. Point of View: The Position or Stance of the Narrator or Speaker.
Stories for Study:
An Occurrence at Owl Creek Bridge, Ambrose Bierce. The Song of Songs, Ellen Gilchrist. The Lottery, Shirley Jackson.
The Old Chief Mshlanga, Doris Lessing. How to Become a Writer, Lorrie Moore.
6. Setting: The Background of Place, Objects, and Culture in Stories.
Stories for Study:
The Portable Phonograph, Walter Van Tilburg Clark. The Secret Sharer, Joseph Conrad. The Shawl, Cynthia Ozick.
The Masque of the Red Death, Edgar Allan Poe.
7. Tone and Style: The Words That Convey Attitude in Fiction.
Stories for Study:
The Story of an Hour, Kate Chopin. Soldier's Home, Ernest Hemingway. The Found Boat, Alice Munro. First Confession,
Frank O'Connor. Luck, Mark Twain.
8. Symbolism and Allegory: Keys to Extended Meaning.
Stories for Study:
The Fox and the Grapes, Aesop. The Myth of Atalanta, Anonymous. Unfinished Masterpieces, Anita Scott Coleman. Young
Goodman Brown, Nathaniel Hawthorne. The Loons, Margaret Laurence. The Parable of the Prodigal Son, St. Luke. The
Hammon and the Beans, Américo Paredes. The Chrysanthemums, John Steinbeck. The Thimble, Michel Tremblay.
9. Idea or Theme: The Meanings and the Messages in Fiction.
Stories for Study:
The Lesson, Tony Cade Bambara. Araby, James Joyce. The Horse Dealer's Daughter, D.H. Lawrence.
10. Five Stories for Additional Study and Enjoyment.
Snow, Robert Olen Butler. The Curse, Andre Dubus. The Point of It, E.M. Forster. The Yellow Wallpaper, Charlotte
Perkins Gilman. The Jilting of Granny Weatherall, Katherine Anne Porter.
II. READING AND WRITING ABOUT POETRY.
11. Meeting Poetry: An Overview.
Schoolsville, Billy Collins. Hope, Lisel Mueller. Here a Pretty Baby Lies, Robert Herrick.
Sir Patrick Spens, Anonymous.
Poems for Study:
My Last Duchess, Robert Browning. Because I Could Not Stop for Death, Emily Dickinson. Catch, Robert Francis. Stopping
by Woods on a Snowy Evening, Robert Frost. The Man He Killed, Thomas Hardy. Eagle Poem, Joy Harjo. The Death of
the Ball Turret Gunner, Randall Jarrell. Ogichidag, Jim Northrup. Where Children Live, Naomi Shihab Nye. A Christmas
Carol, Christina Rossetti. Sonnet 55: Not Marble, Nor the Gilded Monument, William Shakespeare. True Love, Judith
Viorst. It Is a Beauteous Evening, Calm and Free, William Wordsworth.
12. Words: The Building Blocks of Poetry.
The Naked and the Nude, Robert Graves.
Poems for Study:
The Lamb, William Blake. Green Grow the Rashes, O, Robert Burns. Jabberwocky, Lewis Carroll. next to of course
god america i, E.E. Cummings. Holy Sonnet 14: Batter My Heart, Three-Personed God, John Donne. The Fury of Aerial
Bombardment, Richard Eberhart. Sonnet on the Death of Richard West, Thomas Gray. Loveliest of Trees, A.E. Houseman.
Of Being, Denise Levertov. Richard Cory, Edwin Arlington Robinson. Dolor, Theodore Roethke. I Think Continually
of Those Who Were Truly Great, Stephen Spender. Disillusionment of Ten O'Clock, Wallace Stephens. Eating Poetry,
Mark Strand. Daffodils, William Wordsworth.
13. Imagery: The Poem's Link to the Senses.
Cargoes, John Masefield. Anthem for Doomed Youth, Wilfred Owen. The Fish, Elizabeth Bishop.
Poems for Study:
The Tyger, William Blake. Sonnets from the Portuguese, No. 14: If Thou Must Love Me, Elizabeth Barrett Browning.
Kubla Khan, Samuel Taylor Coleridge. I Know I'm Not Sufficiently Obscure, Ray Durem. Preludes, T.S. Eliot. Channel
Firing, Thomas Hardy. The Pulley, George Herbert. Spring, Gerard Manley Hopkins. A Time Past, Denise Levertov.
The Voice You Hear When You Read Silently, Thomas Lux. Photos of a Salt Mine, P.K. Page. In a Station of the Metro,
Ezra Pound. Sonnet 130: My Mistress' Eyes Are Nothing Like the Sun, William Shakespeare. Composed upon Westminster
Bridge, September 3, 1802, William Wordsworth.
14. Figures of Speech, or Metaphorical Language: A Source of Depth and Range in Poetry.
On First Looking into Chapman's Homer, John Keats.
Bright Star, John Keats. Let Us Take the Road, John Gay.
Poems for Study:
A Red, Red Rose, Robert Burns. A Valediction: Forbidding Mourning, John Donne. The Iceberg Seven-eighths Under,
Abbie Huston Evans. Harlem, Langston Hughes. To Autumn, John Keats. Sic Vita, Henry King. Conjoined, Judith Minty.
A Work of Artifice, Marge Piercy. Metaphors, Sylvia Plath. Looking at Each Other, Muriel Rukeyser. Sonnet 18: Shall
I Compare Thee to a Summer's Day?, William Shakespeare. Sonnet 30: When to the Sessions of Sweet Silent Thought,
William Shakespeare. On Monsieur s Departure, Elizabeth Tudor, Queen Elizabeth I. Earth's Tremors Felt in Missouri,
Mona Van Duyn. Facing West from California's Shores, Walt Whitman. London, 1802 William Wordsworth. I Find No Peace,
Sir Thomas Wyatt.
15. Tone: The Creation of Attitude in Poetry.
The First-Rate Wife, Cornelius Whur. Dulce et Decorum Est, Wilfred Owen.
The Workbox, Thomas Hardy.
Epigram from the French, Alexander Pope. Epigram, Engraved on the Collar of a Dog which I Gave to His Royal Highness,
Alexander Pope.
Poems for Study:
homage to my hips, Lucille Clifton. she being Brand, E.E. Cummings. I Am A Black Woman, Mari Evans. Theme for English
B, Langston Hughes. The Planned Child, Sharon Olds. Late Movies with Skyler, Michael Ondaatje. Dying, Robert Pinsky.
From Epilogue to the Satires, Dialogue I, Alexander Pope. Nothing Is Lost, Anne Ridler. My Papa's Waltz, Theodore
Roethke. A Description of the Morning, Jonathan Swift. My Physics Teacher, David Wagoner. Dimensions, C.K. Williams.
16. Form: The Shape of the Poem.
The Eagle, Alfred, Lord Tennyson. Spun in High, Dark Clouds, Anonymous. Sonnet 116: Let Me Not to the Marriage
of True Minds, William Shakespeare.
Reconciliation, Walt Whitman.
Easter Wings, George Herbert.
Poems for Study:
One Art, Elizabeth Bishop. We Real Cool, Gwendolyn Brooks. Sonnet, Billy Collins. Buffalo Bill's, E.E. Cummings.
To the Memory of Mr. Oldham, John Dryden. Desert Places, Robert Frost. Nikki-Rosa, Nikki Giovanni. Museum, Robert
Hass. Virtue, George Herbert. Mantle, William Heyen. Swan and Shadow, John Hollander. God's Grandeur, Gerard Manley
Hopkins. Ode to a Nightingale, John Keats. The Sound of the Sea, Henry Wadsworth Longfellow. In Bondage, Claude
McKay. When I Consider How My Light Is Spent, John Milton. Annabel Lee, Edgar Allan Poe. Ballad of Birmingham,
Dudley Randall. The Waking, Theodore Roethke. Sonnet 73: That Time of Year Thou May'st in Me Behold, William Shakespeare.
Ode to the West Wind, Percy Bysshe Shelley. Women, May Swenson. Do Not Go Gentle into That Good Night, Dylan Thomas.
Reapers, Jean Toomer. The Shape of History, Charles H. Webb. Poetics Against the Angel of Death, Phyllis Webb.
The Dance, William Carlos Williams. The Solitary Reaper, William Wordsworth.
17. Symbolism and Allusion: Windows to Wide Expanses of Meaning.
Snow, Virginia Scott.
Poems for Study:
Dover Beach, Matthew Arnold. Beach Glass, Amy Clampitt. The Poplar Field, William Cowper. in Just-, E.E. Cummings.
The Canonization, John Donne. Collage of Echoes, Isabella Gardner. The Geese, Jorie Graham. In Time of �The Breaking
of Nations� , Thomas Hardy. The Collar, George Herbert. Tears, Josephine Jacobsen. The Purse-Seine, Robinson Jeffers.
La Belle Dame Sans Merci, John Keats. To His Coy Mistress, Andrew Marvell. Wild Geese, Mary Oliver. A Noiseless
Patient Spider, Walt Whitman. Year's End, Richard Wilbur. Lines Written in Early Spring, William Wordsworth. The
Second Coming, William Butler Yeats.
18. Myths: Systems of Symbolic Allusion in Poetry.
Leda and the Swan, William Butler Yeats.
Poems for Study:
Penelope's Song, Louise Glück. Odysseus, W.S. Merwin. Penelope, Dorothy Parker. The Suitor, Linda Pastan.
Ulysses, Alfred, Lord Tennyson. Odyssey: 20 Years Later, Peter Ulisse. Flight 063, Brian Aldiss. Musée des
Beaux Arts, W.H. Auden. Icarus, Edward Field. Waiting for Icarus, Muriel Rukeyser. To a Friend Whose Work Has Come
to Triumph, Anne Sexton. Landscape with the Fall of Icarus, William Carlos Williams. Berceuse, Amy Clampitt. Hunting
the Phoenix, Denise Levertov. The Phoenix Again, May Sarton. Myth, Muriel Rukeyser. On the Way to Delphi, John
Updike.
19. Two Poetic Careers: Emily Dickinson and Robert Frost.
Poems by Emily Dickinson:
After Great Pain, a Formal Feeling Comes (Poem 341). Because I Could Not Stop for Death (Poem 712). The Bustle
in a House (Poem 1078). The Heart Is the Capital of the Mind (Poem 1354). I Cannot Live with You (Poem 640). I
Died for Beauty-but Was Scarce (Poem 449). I Felt a Funeral in My Brain (Poem 280). I Heard a Fly Buzz-When I Died
(Poem 465). I Like to See It Lap the Miles (Poem 585). I'm Nobody! Who Are You? (Poem 288). I Never Lost as Much
But Twice (Poem 49). I Taste a Liquor Never Brewed (Poem 214). Much Madness Is Divinest Sense (Poem 435). My Life
Closed Twice Before Its Close (Poem 1732). My Triumph Lasted Till the Drums (Poem 1227). One Need Not Be a Chamber-To
Be Haunted (Poem 670). Safe in Their Alabaster Chambers (Poem 216). Some Keep the Sabbath Going to Church (Poem
324). The Soul Selects Her Own Society (Poem 303). Success Is Counted Sweetest (Poem 67). Tell All the Truth but
Tell It Slant (Poem 1129). There's a Certain Slant of Light (Poem 258). This World Is Not Conclusion (Poem 501).
Wild Nights-Wild Nights! (Poem 249).
Selected Poems by Robert Frost:
Mending Wall (1914). Birches (1915) The Road Not Taken (1915). 'Out, Out -' (1916). Fire and Ice (1920). Stopping
by Woods on a Snowy Evening (1923). Misgiving (1923). Nothing Gold Can Stay (1923). Acquainted with the Night (1928).
Desert Places (1936). Design (1936). The Silken Tent (1936). The Strong Are Saying Nothing (1937). A Considerable
Speck (1942). Choose Something like a Star (1943).
20. Eighty-Six Poems for Additional Study and Enjoyment.
Healing Prayer from the Beautyway Chant, Anonymous (Navajo). Variation on the Word Sleep, Margaret Atwood. Ka 'Ba,
Imamu Amiri Baraka (LeRoi Jones). Another Descent, Wendell Berry. Women, Louise Bogan. A Black Man Talks of Reaping,
Arna Bontemps. Sonnets from the Portuguese, No.43: How Do I Love Thee?, Elizabeth Barrett Browning. Soliloquy of
the Spanish Cloister, Robert Browning. 'The killers that run...', Leonard Cohen. Days, Billy Collins. From A Letter
to America on a Visit to Sussex, Spring 1942, Frances Cornford. Do Not Weep, Maiden, for War Is Kind, Stephen Crane.
if there are any heavens, E.E. Cummings. The Lifeguard, James Dickey. The Good Morrow, John Donne. Holy Sonnet
10: Death Be Not Proud, John Donne. Sympathy, Paul Laurence Dunbar. The Negro, James Emanuel. Like God, Lynn Emanuel.
The Beauty of the Trees, Chief Dan George. Woman, Nikki Giovanni. Sonnet Ending with a Film Subtitle, Marilyn Hacker.
Little Cosmic Dust Poem, John Haines. Snapshot of Hué, Daniel Halpern. Leaves, H.S.(Sam) Hamod. She's Free!,
Frances E.W. Harper. Called, Michael S. Harper. Spring Rain, Robert Hass. Those Winter Sundays, Robert Hayden.
The Hair: Jacob Korman's Story, William Heyen. Advice to Young Ladies, A.D. Hope. Pied Beauty, Gerard Manley Hopkins.
Negro, Langston Hughes. The Negro Speaks of Rivers, Langston Hughes. The Answer, Robinson Jeffers. Ode on a Grecian
Urn, John Keats. Rhine Boat Trip, Irving Layton. A Final Thing, Li-Young Lee. In Computers, Alan P. Lightman. The
Choosing, Liz Lochhead. Every Traveler Has One Vermont Poem, Audre Lorde. Patterns, Amy Lowell. The White City,
Claude McKay. Listen, W.S. Merwin. The Bear, N. Scott Momaday. Life Cycle of Common Man, Howard Nemerov. wahbegan,
Jim Northrup. Ghosts, Mary Oliver. Marks, Linda Pastan. The Secretary Chant, Marge Piercy. Last Words, Sylvia Plath.
Mirror, Sylvia Plath. Bells for John Whiteside's Daughter, John Crowe Ransom. Assailant, John Raven. rite on: white
america, Sonia Sanchez. Chicago, Carl Sandburg. Dreamers, Sigfried Sassoon. The Paperweight, Gjertrud Schnackenberg.
I Have a Rendezvous with Death, Alan Seeger. My Mother's Face, Brenda Serotte. Fear No More the Heat o' the Sun,
William Shakespeare. Sonnet 29: When in Disgrace with Fortune and Men's Eyes, William Shakespeare. Sonnet 146:
Poor Soul, the Center of My Sinful Earth, William Shakespeare. Auto Wreck, Karl Shapiro. Where Mountain Lion Lay
Down with Deer, Leslie Marmon Silko. Bluejays, Dave Smith. Not Waving But Drowning, Stevie Smith. Oranges, Gary
Soto. Traveling Through the Dark, William Stafford. Burying an Animal on the Way to New York, Gerald Stern. The
Emperor of Ice-Cream, Wallace Stevens. Question, May Swenson. The Blue Booby, James Tate. Perfection Wasted, John
Updike. The Boxes, Shelly Wagner. Revolutionary Petunias, Alice Walker. Go, Lovely Rose, Edmund Waller. Song of
Napalm, Bruce Weigl. On Being Brought from Africa to America, Phillis Wheatley. Full of Life Now, Walt Whitman.
Dirge for Two Veterans, Walt Whitman. April 5, 1974, Richard Wilbur. The Red Wheelbarrow, William Carlos Williams.
The Wild Swans at Coole, William Butler Yeats. The Day Zimmer Lost Religion, Paul Zimmer.
III. READING AND WRITING ABOUT DRAMA.
21. The Dramatic Vision: An Overview.
The Visit to the Sepulchre (Visitatio Sepulchri), Anonymous.
Plays for Study:
The More the Merrier, Stanley Kauffmann. Tea Party, Betty Keller. Before Breakfast, Eugene O'Neill.
22. The Tragic Vision: Affirmation Through Loss.
Plays for Study:
Oedipus the King, Sophocles. Hamlet, William Shakespeare.
23. The Comic Vision: Restoring the Balance.
Plays for Study:
A Midsummer Night's Dream, William Shakespeare. The Bear, Anton Chekhov. Am I Blue, Beth Henley.
24. Three Plays for Additional Study and Enjoyment.
A Dollhouse (Et Dukkehjem), Henrik Ibsen. Mulatto, Langston Hughes. Death of a Salesman, Arthur Miller.
IV. SPECIAL WRITING TOPICS ABOUT LITERATURE.
25. Writing and Documenting the Research Essay.
26. Critical Approaches Important in the Study of Literature.
27. Taking Examinations on Literature.
28. Comparison-Contrast and Extended Comparison-Contrast: Learning by Seeing Literary Works Together.
Appendix I: MLA Recommendations for Documenting Electronic Sources.
Appendix II: Brief Biographies of the Poets in Part III.
Glossary of Literary Terms.
Index of Authors, Titles, and First Lines.
