& /) Reading to Write. Elizabeth Howells. Armstrong Atlantic State University. Uni Gottingen A 11122

Transcription

1 Uni Gottingen A & /) Reading to Write Elizabeth Howells Armstrong Atlantic State University Longman Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto Delhi Mexico City Sao Paulo Sydney' :Hong Kong. Seoul Singapore Taipei. Tokyo

2 E-Anthology Table of Contents xii Media Resources Featured in MyLiteratureLab.com xv Selections by Genre xvii Foreword xix Preface xxi PA R T O N E R E A D I N G A N D W R I T I N G ABOUT LITERATURE 1 1 WHAT IS LITERATURE? 2 LITERARY CONTEXTS Authors Define Literature 5 HISTORICAL CONTEXTS Forms of Literature Through Time 6 STORIES 7 Charles Perrault, "The Sleeping Beauty in the Wood" 8 LITERARY CONTEXTS Defining Plot 15 Margaret Atwood, "There was Once" 16 POEMS 18 Percy Bysshe Shelley, "Ozymandias" 19 Comparing Themes 19 Adrienne Rich, "Diving into the Wreck" 20 Lawrence Ferlinghetti, "Constantly Risking Absurdity" 22 Reflecting on the Writing Process 23 Prewriting,24 Drafting 24 Revising 25 Assignment: Reading to Write 25 2 READING AND WRITING Contexts for Thinking 26 Active Reading 28 Writing About Your Reading Experience 29 Thinking Critically About the Text 30' STORY 30 ;, Kate Chopin, "The Story of an Hour" 30 Critical Thinking Acts 32 " " Interpretation 33' Analysis 33 Argument 34 Comparison/Contrast- 34 LITERARY CONTEXTS Making Meaning of Fiction. 35 ' ' ' iii

3 PLAY 36 Jane Martin, Beauty 37 LITERARY CONTEXTS Making Meaning of Drama 41 LITERARY CONTEXTS.Making Meaning of Poetry -42 POEMS 44 Comparing Themes 44 Sylvia Plath, "Metaphors".44 Billy Collins, "Introduction to Poetry" 45 Assignments: Reading to Write 46 Sample Student Paper: Ashley Walden, Breaking Boundaries in Chopin's "The Story of an Hour" 48, PART TWO WRITING IN RESPONSE TO LITERATURE 53 LOVE AND SYMBOLISM Interpreting Themes 54 a POEMS.56 Li Ho, "A Beautiful Girl Combs Her Hair" 56 Sir Thomas Wyatt, "I Find No Peace, and All My War Is Done" Robert Herrick, "Upon Julia's Clothes" 58 Percy Bysshe Shelley, "The Indian Girl's Song" 58 The Act of Interpretation 59 Accounting for Key Symbols and Other Elements 60 Taking Contexts into Account 60 POEMS 61 William Shakespeare, "Sonnet 18" and "Sonnet 130" 62 Edna St. Vincent Millay, "Love Is Not All" 63 Wislawa Szymborska, "True Love" 64 Sharon Olds, "Sex without Love" 65 Beth Ann Fennelly, "Why I Can't Cook for Your Self-Centered Architect Cousin" 66-, 57 STORIES 67 Guy de Maupassant, "The Necklace" Bobbie Ann Mason, "Shiloh".74 Writing an Interpretation: Reading for Meaning in Literature Prewriting: Identifying a Topic 84 Forming an Interpretation: Offering a Big Idea 85 TffiS ing in Evidence: Close-Reading for Textual Support 86 NlEDERSACUftipi^a Thesis: Constructing a Statement 87 AT A ATS5 U L) r ' l! iw ; ' B 9 to Advance the Thesis: The Formal Essay 87 b, B uoth<;»s; 0 " 88 GOTTiN GENhej ^elusion 91 Jt$g rating and Citing Source Material 92 Revising, Editing, and Proofreading 92 Revising 93. ' 68 84

4 Editing 93. Proofreading 94 Sample Student Paper: James Lewis, Immoderate Desire in Guy de Maupassant's "The Necklace" 96 A STUDY IN STYLE ' Analyzing Patterns 101 POEMS 104 William Wordsworth, "Nuns Fret Not at Their Convent's Narrow Room" LITERARY CONTEXTS Stanza Lengths and Sonnets 105 Elizabeth Bishop, "One Art" 106 LITERARY CONTEXTS Poetic Forms The Villanelle 107 The Act of Analysis 107 Supporting Theme Through Analysis 108 Finding Patterns Through Analysis 109 POEMS 109 : E. E. Cummings, "1(a)" 110 LITERARY CONTEXTS Open Form Poems 110 Comparing Themes 111 Emily Dickinson, "Some Keep the Sabbath Going to Church" 111 Gerard Manley Hopkins, "God's Grandeur" 112 CRITICAL CONTEXTS Formalist Criticism Robert Frost, "Stopping by Woods on a Snowy Evening" 114 Gwendolyn Brooks, "We Real Codl" 115 LITERARY CONTEXTS Scanning Lines of Poetry 116 PLAY 117 Tennessee Williams, The Glass Menagerie 117 ~ "LITERARY CONTEXTS Realism 169 STORIES 169 Toni Cade Bambara, "The Lesson" 170 LITERARY CONTEXTS Dialog 175 Don DeLillo, "Videotape" LITERARY CONTEXTS Reality 180 Tim O'Brien, "The Things They Carried" 180 ~ LITERARY CONTEXTS Imagery 193 Writing an Analysis: The Elements of Style 193 Moving.from Free Writes to Ideas.194 Finding a Focus s Shaping a Thesis *. 196 ^ > Finding Significance in Small Moments and Specific Details 197 Writing to Advance the, Thesis. 198 Making a Plan ,r. Developing and Supporting Your Thesis 199 _ Revising to Polishing 201 Editing 201

5 A Lesson in Style 201 '! Style Checklist 203 Exercises 204 Proofreading 205 Sample Student Paper: Ashley Walden, Analyzing Stage Direction, Dialog, and Memory in Williams's The Class Menagerie 206. VOICE AND NARRATION Arguing for an Interpretation 212 STORIES 214 John Updike, "A & P" ' 215 CRITICAL CONTEXTS You Decide 220 William Faulkner, "A Rose for Emily" 220 CRITICAL CONTEXTS A Historical/Feminist Approach to Miss Emily 227 The Act of Argument 227 The Writer: Evaluating Your Interpretation 228 The Text: Evaluating Your Analysis 228 The Readers: Evaluating Your Audience 229 POEMS. 229 Robert Browning, "My Last Duchess" 230 HISTORICAL CONTEXTS The Duke's Two Wives 232 Comparing Themes 232 Christina Rossetti, "In an Artist's Studio" 232 Marge Piercy, "Barbie Doll" 233 HISTORICAL CONTEXTS Comparing the Themes 234 Thomas Hardy, "Channel Firing" 235 Randall Jarre//, "Death of a Ball Turret Gunner" 236 HISTORICAL AND LITERARY CONTEXTS The Literature of War 236 T. S. Eliot, "The Love Song of J. Alfred Prufrock" 237 LITERARY CONTEXTS Making Meaning of Prufrock 240 Arguing for an Interpretation 241 Using Visual Techniques to Discover Ideas 241 Clustering 242. Jot Listing 242 Shaping a Persuasive Thesis- 243 Exercises 243 Writing to Advance the Thesis Support Your Interpretation Through Analysis 243 Support Your Argument by Addressing Counterarguments 244 Revising with Your Audience in Mind 244 Write the Introduction and Conclusion 244 ' Strengthen Weaker Paragraphs 245 Arrange Your Paragraphs 245 Decide Where to Handle Other Interpretations i Editing and Proofreading Your Argument 246 Sample Student Paper: Erin Christian, Effects of the Social Environment on Emily Grierson in "A Rose for Emily" 247 1

6 6 FAMILIES AND THEIR CHARACTERS Comparing Works of Literature 252 STORIES 253 Flannery O'Connor, "Everything that Rises Must Converge" 254 LITERARY CONTEXTS Regionalism and the Grotesque 265 Comparing Themes: Identity 266 Alice Walker, "Everyday Use" 267 Amy Tan, "Two Kinds" 274 CRITICAL CONTEXTS Assimilation versus Acculturation 282 The Act of Comparison 283 Choosing Two Texts to Compare 283 Charting Similarities and Differences 284 Analyzing and Interpreting the Comparisons 285 POEMS 286 Comparing Themes: Growing Up 286 Rita Dove, "Adolescence I" and "Adolescence III" 286 Judith Ortiz Cofer, "Common Ground" 287 Comparing Themes: Fathers 288 Robert Hayden, "Those Winter Sundays" 288 Lucille Clifton, "Forgiving My Father" 289 Sylvia Plath, "Daddy" 290 Theodore Roethke, "My Papa's Waltz" 293 Writing a Comparison and Contrast Essay 293 Discovering Similarities and Differences 294 Focusing on What Is Revealed 294 Shaping a Thesis 295 A Thesis Focused on Similarities 295 ' A Thesis Focused on Differences 295 Writing to Advance the Thesis 296 Revising for Coherence 298 Editing and>proofreading 298 Integrating Text from a Reading into Ypur Writing 299 Summary; 299 Paraphrase 299 Direct Quotation 300 Sample Student Paper: Stephanie Roberts, Structure and Style in. Lucille Clifton's "Forgiving My Father" and Sylvia Plath's "Daddy": Renaming and Reclaiming OPPRESSION AND SOCIAL CHANGE Using Critical Tools for Analytical Arguments 307 STORIES 309 Charlotte Perkins Gilman, "The Yellow Wallpaper" 310 CRITICAL CONTEXTS Feminist Criticism 321 Jamaica Kincaid, "Girl" 322 Ursula K. LeGuin "The Ones who Walk Away from Omelas" 323 The Act of Seeing Through a Critical Perspective 328

7 CO H Z Li] I- z POEMS 331 Comparing Themes 331,.. Anne Bradstreet, "The Author to Her Book" 332 Langston Hughes, "Theme for English B".333 Wole Soyinka, "Telephone Conversation" 334 Julio Marzan, "Ethnic Poetry" 335 PLAYS 336 Susan Glaspell, Trifles 337 Writing an Analytical Argument from a Critical Perspective 347 Considering Different Critical Perspectives 347 Rereading the Work'in Light of the Perspective'- 348 Shaping a Thesis: Establishing the Critical Context 350, Writing to Advance the Thesis.350 Integrating and Citing Source Material 351 Revising, Editing, and Proofreading 352 < Sample Student Paper: Stephanie Roberts, Policing Domesticity: Cultural Surveillance in Susan Glaspell's Trifles 353 PART THREE EXPERIENCING CONTEMPORARY LITERATURE LAUGHING OUT LOUD Getting to Know Comic Literature 360 From Someone Who Knows: Dave Barry on Being Funny. 361 Bryan Curtis, "On Dave Barry: Elegy for the Humorist" 361 A Genre You Know: Stand-up Comedy 363 A Genre You Might Like to Know: Comic Essays 364 David Sedaris, "The Drama Bug" 364, Sarah Vowell, "Shooting Dad" 369 Knowing Where We Come From: Comedy in the Theatre 374 WANT TO, KNOW MORE?,The Language of Comedy 374 Writing About Your Experience with Literature VIEWING WORDS AND READING PICTURES Getting to Know Graphic Novels 376 From Someone Who Knows: Scott McCloud on Understanding Comics 377. ' '. Excerpt from Scott McCloud, Understanding Comics WANT TO KNOW MORE? Graphic Novels versus Literature 384 A Genre You Know: Comic Strips 385 Charles Schulz, Snoopy 385 * Aaron McGruder, The Boondocks 385 A Genre You Might Like to Know: The Superhero Graphic Novel 386 Excerpt from Alan Moore and David Lloyd, V for Vendetta 387 Another Kind of Graphic Novel: A Memoir 400 Excerpt from Art Spiegelrnan, Maus: A Survivors's Tale 401

8 Knowing Where We Come From: The Evolution of Comics Writing About Your Experience with Literature THRILLED AND CHILLED Getting to Know Horror in Literature 410 From Someone Who Knows: Stephen King on Horror 411 Stephen King, "Why We Crave Horror Movies" '411. " WANT TO KNOW MORE? Kinds of Horror 413 A Genre You Know: The Ghost Story 414 A Horror Story You Might Like: A Real-Life Devil 414 Joyce Carol Oates, "Where Are You Going,.Where Have You Been?" 414 WANT TO KNOW MORE? Source Material for Oates's Story 426 Excerpt from Don Moser, "The Pied Piper of Tucson" 426 Bob Dylan, "It's All Over Now, Baby Blue" 427 Knowing Where We Come From: Edgar Allan Poe 428 Writing About Your Experience with Literature 429 LISTENING TO MUSIC Experiencing Stories in Rhythm 430 z h- From Someone Who Knows: Paul Simon on Songwriting 431 Z Richard Harrington, "Music, Lyrics' in Their Best Order" A Genre You Know: Songs 432 The Zombies, "A Rose for Emily" 433 Fiona Apple, "Sleep to Dream" 434 The Magnetic Fields, "I Don't Want to Get Over You" 434 Arctic Monkeys, "I Bet You Look Good on the Dancefloor" 435 The Decemberists, "The Crane Wife 1 and 2" 436 A Genre You Might Like to Know: Spoken-Word Poetry 438 Cristin O'Keefe Aptowicz, "Lit" 439 Vince Cavasin, "I Have Not Gone Marking (With Apologies to Pablo Neruda)". 441 Debora Marsh, "Unbreakable Glass A Poem for My Daughter" 442 Scott Woods, "I, Nightmare" 443 Knowing Where We Come From: Oral Literature 444 Writing About Your Experience with Literature 445 Songs with Literary References: A Selective List 446 EXPLORING THE ALTERNATIVE Getting to Know Experimental Literature 448 From Someone Who Knows: Claes Oldenburg on Experimental Art 449 An Experimental Artist You Know: Eve Ensler, Dramatist 451 Experimental Artists You Might Like to Know: Lydia Davis and Chris Bachelder 451 Lydia Davis, "Boring Friends," "A Mown Lawn," "Interesting," and "The Old Dictionary" 451,, Chris Bachelder, "Blue Knights Bounced from CVD Tourney," "My Beard, Reviewed," and "Notes Toward a Lay Report on the Joy Debt" 455 H >H

9 Knowing Where We Come From: The Experimental Poetry of Gertrude Stein 462 WANT TO KNOW MORE? A Suggested Reading List of Experimental Writers 463 Writing About Your Experience with Literature 464 i/> t- PART FOUR RESEARCH FOR WRITING DEVELOPING A TOPIC AND STATING A THESIS 466 Choosing a Text 468 Read. Reread. Read again. 469 Posing a Research Question 470 Answering Your Question with a Tentative Thesis 471 Conducting Preliminary Research 472 Assignment: Drafting a Proposal 473 Sample Student Paper: Erin Christian, A Research Proposal FINDING AND EVALUATING SOURCES 477 z LLI I- z O Considering Research Sources 477 Beginning Your Research and Developing Search Terms 478 Interlibrary Loan 479 Locating Background Information. 479 Locating Literary Criticism 481 Locating Historical and Cultural Works 483 Evaluating Sources 485 Ask the Expert! 486 Taking Good Notes 487 The Reading/Research Dialectic 488 A Tentative Timeline: 10 Steps to a Successful Research Project 488 Assignment: Writing an Annotated Bibliography 489 Sample Student Writing: Erin Christian, An Annotated Bibliography UNDERSTANDING CRITICAL PERSPECTIVES 496 Reading the Critics A Quick Look Back at Schools of Critical Thought 497 A Critical Casebook on Elizabeth Bishop's "One Art", 498 Reading 1: Excerpt from Joanne Fiet Diehl, Women Poets and the American Sublime 498. ' Reading 2: Excerpt from Elizabeth Dodd, The Veiled Mirror and the Woman Poet 500 Reading 3: Excerpt from Susan McCabe, Elizabeth'Bishop: Her Poetics of Loss Reading 4: Excerpt from Anne Colwell, "Geography III: The Art of Losing" 505

10 A Critical Casebook on Toni Cade Bambara's "The Lesson" 507 Reading 1: Jerome Cartwright,-"Bambara's The Lesson'" 507 Reading 2: Excerpt from Janet Carey Eldred, "Narratives of Socialization: Literacy in the Short Story" 509 Reading 3: Excerpt from Janet Ruth Heller, "Toni Cade Bambara's Useof African American Vernacular English in The Lesson'" 512 A Critical Casebook on Tennessee Williams's The Glass Menagerie 516 Reading 1: Tennessee Williams, "How to Stage The Glass Menagerie" Reading 2: Excerpt from Lewis Nichols, Review 518 Reading 3: Excerpt from Nancy M. Tischler, Student Companion to Tennessee Williams 520 ' Reading 4: Excerpt from C. W. E. Bigsby, "Entering The Glass Menagerie" 522 Reading 5: Excerpt from Judith J. Thompson, Tennessee Williams' Plays 527 INTEGRATING PRIMARY AND SECONDARY SOURCES 530 Some Organizing Principles 530 Drafting Body Paragraphs 530 Verb Tenses in Writing About Literature 533 Integrating Sources 533 Summary 533 Paraphrase 535 Direct Quotation 535 Quotations that Become Part of Your Sentence 536 Quoting Larger Amounts of Text (Block Quotations) 537- Common Knowledge 538 Avoiding Plagiarism 539 Sample Student Paper: Erin Christian, On Loss in Elizabeth Bishop's "One Art" 541 USING THE MLA STYLE OF DOCUMENTATION 549 Preparing to Cite Sources 549 Using the Modern Language Association (MLA) Style 550 Citations in the Paper 550 Works Cited at the End of the Paper 551 Books and Material from Books 551 ' Articles from Print Periodicals 554 Electronic and Online Sources 556 Other Media 558 Glossary of Literary Terms 559 Student Biographies 567 Credits 568 Index 572 ' i