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Novels For Students Vol 1-Hemingway, Austen, Hawthorne PDF
Novels For Students Vol 1-Hemingway, Austen, Hawthorne PDF
Kill a Mockingbird (Vol. 2), for example, the roeville, Alabama, and that her father was a lawyer.
mockingbird as a symbol of innocence is dealt with, Readers can now see why she chose the south as a
among other things, as is the importance of Lee's setting for her novel-it is the place with which she
use of humor which "enlivens a serious plot, adds was most familiar-and start to comprehend her
depth to the characterization, and creates a sense characters and their actions.
of familiarity and universality." The reader comes Novels for Students helps readers find the an-
to understand the internal elements of each novel swers they seek when they establish a dialogue
discussed-as well as the external influences that with a particular novel. It also aids in the posing
help shape it. of questions by providing the opinions and inter-
"The desire to write greatly," Harold Bloom pretations of various critics and reviewers, broad-
of Yale University says, "is the desire to be else- ening that dialogue. Some reviewers of To Kill A
where, in a time and place of one's own, in an orig- Mockingbird, for example, "faulted the novel's cli-
inality that must compound with inheritance, with max as melodramatic." This statement leads read-
an anxiety of influence." A writer seeks to create ers to ask, "Is it, indeed, melodramatic?" "If not,
a unique world within a story, but although it is why did some reviewers see it as such?" "If it is,
unique, it is not disconnected from our own world. why did Lee choose to make it melodramatic?" "Is
It speaks to us because of what the writer brings to melodrama ever justified?" By being spurred to ask
the writing from our world: how he or she was these questions, readers not only learn more about
raised and educated; his or her likes and dislikes; the book and its writer, but about the nature of writ-
the events occurring in the real world at the time ing itself.
of the writing, and while the author was growing The literature included for discussion in Nov-
up. When we know what an author has brought to els for Students has been chosen because it has
his or her work, we gain a greater insight into both something vital to say to us. Of Mice and Men,
the "originality" (the world of the book), and the Catch-22, The Joy Luck Club, My Antonia, A Sep-
things that "compound" it. This insight enables us arate Peace and the other novels here speak oflife
to question that created world and find answers and modem sensibility. In addition to their indi-
more readily. By informing ourselves, we are able vidual, specific messages of prejudice, power,
to establish a more effective dialogue with both love or hate, living and dying, however, they and
book and author. all great literature also share a common intent.
Novels for Students, in addition to providing a They force us to think-about life, literature, and
plot summary and descriptive list of characters- about others, not just about ourselves. They pry us
to remind readers of what they have read-also ex- from the narrow confines of our minds and thrust
plores the external influences that shaped each us outward to confront the world of books and the
book. Each entry includes a discussion of the au- larger, real world we all share. Novels for Students
thor's background, and the historical context in helps us in this confrontation by providing the
which the novel was written. It is vital to know, for means of enriching our conversation with litera-
instance, that when Ray Bradbury was writing ture and the world, by creating an informed dia-
Fahrenheit 451 (Vol. I), the threat of Nazi domi- logue, one that brings true pleasure to the personal
nation had recently ended in Europe, and the Mc- act of reading.
Carthy hearings were taking place in Washington,
D.C. This information goes far in answering the Sources
question, "Why did he write a story of oppressive Harold Bloom, The Western Canon, The Books and School
government control and book burning?" Similarly, of the Ages, Riverhead Books, 1994.
it is important to know that Harper Lee, author of Watty Piper, The Little Engine That Could. Platt & Munk,
To Kill a Mockingbird, was born and raised in Mon- 1930.
Volume i JC
Introduction
Purpose of the Book ten to modern Western culture, a critical overview
essay, and excerpts from critical essays on the
The purpose of Novels for Students (NfS) is to
novel. A unique feature of NfS is a specially com-
provide readers with a guide to understanding, en-
missioned overview essay on each novel by an aca-
joying, and studying novels by giving them easy
demic expert, targeted toward the student reader.
access to information about the work. Part of Gale's
"For Students" Literature line, NfS is specifically To further aid the student in studying and en-
designed to meet the curricular needs of high school joying each novel, information on media adapta-
and undergraduate college students and their teach- tions is provided, as well as reading suggestions for
ers, as well as the interests of general readers and works of fiction and nonfiction on similar themes
researchers considering specific novels. While each and topics. Classroom aids include ideas for re-
volume contains entries on "classic" novels fre- search papers and lists of critical sources that pro-
quently studied in classrooms, there are also entries vide additional material on the novel.
containing hard-to-find information on contempo-
rary novels, including works by multicultural, in- Selection Criteria
ternational, and women novelists.
The titles for each volume of NfS were selected
The information covered in each entry includes by surveying numerous sources on teaching litera-
an introduction to the novel and the novel's author; ture and analyzing course curricula for various
a plot summary, to help readers unravel and under- school districts. Some of the sources surveyed in-
stand the events in a novel; descriptions of impor- cluded: literature anthologies; Reading Lists for
tant characters, including explanation of a given char- College-Bound Students: The Books Most Recom-
acter's role in the novel as well as discussion about mended by America's Top Colleges; textbooks on
that character's relationship to other characters in the teaching the novel; a College Board survey of nov-
novel; analysis of important themes in the novel; and els commonly studied in high schools; a National
an explanation of important literary techniques and Council of Teachers of English (NCTE) survey of
movements as they are demonstrated in the novel. novels commonly studied in high schools; the
10 addition to this material, which helps the NCTE's Teaching Literature in High School: The
Novel; and the Young Adult Library Services As-
readers analyze the novel itself, students are also
sociation (YALSA) list of best books for young
provided with important information on the liter-
adults of the past twenty-five years.
ary and historical background informing each
work. This includes a historical context essay, a Input was also solicited from our expert advi-
box comparing the time or place the novel was writ- sory board, as well as educators from various ar-
eas. From these discussions, it was determined that Themes: a thorough overview of how the major
each volume should have a mix of "classic" nov- topics, themes. and issues are addressed within
els (those works commonly taught in literature the novel. Each theme discussed appears in a
classes) and contemporary novels for which infor- separate subhead, and is easily accessed through
mation is often hard to find. Because of the inter- the boldface entries in the SubjectfTheme Index.
est in expanding the canon of literature, an em-
Style: this section addresses important style el-
phasis was also placed on including works by
ements of the novel, such as setting, point of
international, multicultural, and women authors.
view, and narration; important literary devices
Our advisory board members-i-current high school
used, such as imagery, foreshadowing, symbol-
teachers-helped pare down the list for each vol-
ism; and, if applicable, genres to which the work
ume. If a work was not selected for the present vol-
might have belonged. such as Gothicism or Ro-
ume, it was often noted as a possibility for a future
manticism. Literary terms are explained within
volume. As always, the editor welcomes sugges-
the entry. but can also be found in the Glossary.
tions for titles to be included in future volumes.
Historical and Cultural Context: This section
How Each Entry Is Organized outlines the social, political, and cultural climate
in which the author lived and the novel was cre-
Each entry, or chapter, in NfS focuses on one
ated. This section may include descriptions of
novel. Each entry heading lists the full name of the
related historical events, pertinent aspects of
novel. the author's name, and the date of the
daily life in the culture, and the artistic and lit-
novel's publication. The following elements are
erary sensibilities of the time in which the work
contained in each entry:
was written. If the novel is a historical work, in-
Introduction: a brief overview of the novel formation regarding the time in which the novel
which provides information about its first ap- is set is also included. Each section is broken
pearance, its literary standing, any controversies down with helpful subheads.
surrounding the work, and major conflicts or
Critical Overview: this section provides back-
themes within the work.
ground on the critical reputation of the novel,
Author Biography: this section includes basic including bannings or any other public contro-
facts about the author's life, and focuses on versies surrounding the work. For older works,
events and times in the author's life that inspired this section includes a history of how novel was
the novel in question. first received and how perceptions of it may
Plot Summary: a description of the major have changed over the years; for more recent
events in the novel, with interpretation of how novels, direct quotes from early reviews may
these events help articulate the novel's themes. also be included.
Lengthy summaries are broken down with sub- Sources: an alphabetical list of critical material
heads. quoted in the entry, with full bibliographical in-
Characters: an alphabetical listing of major formation.
characters in the novel. Each character name is
For Further Study: an alphabetical list of other
followed by a brief to an extensive description critical sources which may prove useful for the
of the character's role in the novel, as well as student. Includes full bibliographical informa-
discussion of the character's actions, relation-
tion and a brief annotation.
ships, and possible motivation.
Criticism: an essay commissioned by NfS
Characters are listed alphabetically by last name.
which specifically deals with the novel and is
If a character is unnamed-for instance, the nar-
written specifically for the student audience, as
rator in Invisible Man-the character is listed as
well as excerpts from previously published crit-
"The Narrator" and alphabetized as "Narrator."
icism on the work.
If a character's first name is the only one given,
the name will appear alphabetically by the name. In addition. each entry contains the following
Variant names are also included for each char- highlighted sections, set apart from the main text
acter. Thus, the full name "Jean Louise Finch" as sidebars:
would head the listing for the narrator of To Kill Media Adaptations: a list of important film and
a Mockingbird. but listed in a separate cross-ref- television adaptations of the novel, including
erence would be the nickname "Scout Finch." source information. The list also includes stage
Volume x i
Introduction
Volume 1 xii i
Literary Chronology
1908: Richard Wright is born to Nathan and Ella 1945: Richard Wright publishes his autobiography,
Wright on September 4, 1908, on a farm near Black Boy, in 1945. The unused portions of his
Natchez, Mississippi. original manuscript are published in 1977 as
1910: Mark Twain dies of angina pectoris on April American Hunger.
21, 1910, in Redding, Connecticut. 1950: Sen. Joseph McCarthy of Wisconsin first
1914-1918: World War I. Ernest Hemingway vol- makes the claim that there are over 200 known
unteers to be an ambulance driver for the Red Communists working in the federal government,
Cross in 1918. He is assigned to an Italian war setting off the "Red Scare" that leads to gov-
theater, and he receives serious wounds at Fos- ernment hearings and blacklisting of suspected
salta, Italy. He retumes from the war in 1919. Communists. This emphasis on conformity in-
Hemingway's main character in A Farewell to fluences several novels of the era, including Ray
Arms is also an ambulance driver during the war. Bradbury's Fahrenheit 451 and J. D. Salinger's
The Catcher in the Rye.
1919: Jerome David Salinger is born January 1,
1919, to Sol and Miriam Jillich Salinger, in New 1951: J. D. Salinger's The Catcher in the Rye is
York City. published July 16, 1951, and Salinger avoids the
publicity by traveling to Europe.
1920: Ray Bradbury is born on August 22, 1920,
in Waukegan, Illinois. 1952: Amy Tan is born on February 19, 1952, to
John and Daisy Tu Ching Tan, in Oakland, Cal-
1923: Joseph Heller is born May 1, 1923, to Isaac
ifornia.
and Lena Heller in the Coney Island section of
Brooklyn, New York. 1953: Ray Bradbury wrote the 25,OOO-word
1928: Gabriel Garcia Marquez is born on March 6, novella, "The Fireman," which appeared in
1928, in Aracataca, Colombia. Galaxy in 1952. Fahrenheit 451, his first novel,
is the expanded version of that novella and is
1929: Ernest Hemingway's A Farewell to Arms, published in October, 1953.
the story of an American ambulance driver and
his desire for an English nurse during World 1954: Ernest Hemingway receives the Nobel Prize
War I, is published. in Literature.
1931: Toni Morrison is born Chloe Anthony Wof- 1960: Richard Wright dies of a heart attack on No-
ford on February 18, 1931, to George and vember 28, 1960, in Paris, France.
Ramah Willis Wofford, in Lorain, Ohio. 1961: Joseph HeUer began writing Catch-22 while
1932: Sylvia Plath is born October 27, 1932, to working in the New York advertising business.
Otto Emil and Aurelia Schober Plath, in Boston, The book is published in 1961.
Massachusetts. 1961: Ernest Hemingway commits suicide on July
1936: Judith Guest is born March 29, 1936, to 2, 1961, in Ketchum, Idaho.
Harry Reginald and Marion Aline Guest, in De-
1962: John Steinbeck receives the Nobel Prize for
troit, Michigan.
Literature.
1937: John Steinbeck writes of the white male mi-
1963: Sylvia Plath publishes The Bell Jar in Janu-
grant workers who were becoming extinct from
ary, 1963, under the pseudonym Victoria Lucas.
American culture in Of Mice and Men.
1939: World War IT begins when Nazi Germany, 1963: Sylvia Plath commits suicide on February
led by Adolf Hitler, invades Poland and Eng- 11, 1963, in London, England.
land and France declare war in response. The 1968: John Steinbeck dies of a severe heart attack
repressive Nazi regime, with its thought control in New York City on December 20, 1968.
and book bumings, helps inspire the society in
1970: Toni Morrison's The Bluest Eye, published
Ray Bradbury's novel Fahrenheit 451.
in 1970, is her first novel.
1944: During World War n, Joseph HeUer is sta-
1976: Judith Guest's first novel, Ordinary People,
tioned on the island of Corsica (located in the
is published. It is the first unsolicited manuscript
Mediterranean Sea, off the coasts of France and
accepted by its publisher in twenty years.
Italy), where he serves as a bombardier who flew
sixty combat missions. His novel Catch-22 will 1982: Gabriel Garcfa Marquez receives the Nobel
use a similar wartime setting. Prize in Literature.
1985: Gabriel Garcfa Marquez's Love in the Time 1989: Amy Tan's The Joy Luck Club is published.
of Cholera, published in 1985, is based in part 1993: Toni Morrison receives the Nobel Prize for
on his parents' marriage. Literature.
Volumr: 1 x v
Acknowledgments
The editors wish to thank the copyright holders of Critkal Inquiry, v. 10, March, 1984. Copy-
the excerpted criticism included in this volume and right 1984 by The University of Chicago. Re-
the permissions managers of many book and maga- produced by permission.
zine publishing companies for assisting us in secur- Los Angeles Times Book Review, April 17,
ing reproduction rights. We are also grateful to the 1988. Copyright, 1988, Los Angeles Times. Re-
staffs of the Detroit Public Library, the Library of produced by permission. Los Angeles Times Book
Congress, the University of Detroit Mercy Library, Review, March 12, 1989. Copyright, 1989, Los An-
Wayne State University PurdylKresge Library Com- geles Times. Reproduced by permission.
plex, and the University of Michigan Libraries for
making their resources available to us. Following is MELUS, v. 10, Fall, 1983. Copyright,
a list of the copyright holders who have granted us MELUS, The Society for the Study of Multi-Eth-
permission to reproduce material in this volume of nic Literature of the United States, 1983. Repro-
NfS. Every effort has been made to trace copyright, duced by permission.
but if omissions have been made, please let us know. The Midwest Quarterly, v. XV, January, 1974.
COPYRIGHTED EXCERPTS IN NFS, VOL- Copyright, 1974, by The Midwest Quarterly, Pitts-
UME 1, WERE REPRODUCED FROM THE burg State University. Reproduced by permission.
FOLLOWING PERIODICALS: Modem Fiction Studies, v. XIV, Autumn,
Ball State Teachers College Forum, v. VI, 1968. Copyright 1968 by Purdue Research Foun-
Winter, 1965. 1965, renewed 1993 Ball State dation, West Lafayette, IN 47907. All rights re-
University. Reprinted by permission of the pub- served. Reproduced by permission of The Johns
lisher. Hopkins University Press.
The CEA Criuc, v. 36, November, 1973. Modem Language Quarterly, v. XXV, De-
Copyright 1973 by the College English Associ- cember, 1964. 1966, renewed 1994 University
ation, Inc. Reproduced by permission. of Washington. Reproduced by permission of Duke
University Press.
CIA Journal, v. XXII, June, 1979. Copyright,
1979 by The College Language Association. Re- The Nation, New York, v. 246, Apri123, 1988.
produced by permission of The College Language Copyright 1988 The Nation magazineflbe Nation
Association. CIA Journal, v. XXXVI, December, Company, Inc. Reproduced by permission.
1992. Copyright, 1992 by The College Language The New Republic, v. 164, May 8, 1971.
Association. Reproduced by permission of The 1971 The New Republic, Inc. Reproduced by per-
College Language Association. mission of The New Republic.
The New York Review of Books, June 10, mission of the Modem Language Association of
1976. Copyright 1976 Nyrev Inc. Reproduced America.
with permission from The New York Review of Lee. Dorothy H. From "The Quest for Self:
Books. Triumph and Failure in the World of Toni Morri-
The New York Times Book Review, March 19, son," in Block Women Writers (1950-1980): A
1989. Copyright 1989 by The New York Times Critical Evaluation. Edited by Mari Evans. Anchor
Company. Reproduced by permission. PresslDoubleday, 1984. Copyright 1983 by Mari
Nineteenth-Century Fiction, v. 19, Septem- Evans. All rights reserved. Used by permission of
ber, 1964 for "Arthur Dimmesdale as Tragic Hero" Doubleday, a division of Bantam Doubleday Dell
by Bruce Ingham Granger. 1964, renewed 1992 Publishing Group, Inc.
by The Regents of the University of California. Neuhaus, Ron. From "Threshold Literature: A
Reprinted by permission of the publisher and the Discussion of 'Ordinary People,''' in Censored
author. Books: Critical Viewpoints. Nicholas J. Karolides,
Notes and Queries, v. 190, June 15, 1946 for Lee Burress, John M. Kean, eds. The Scarecrow
"The Noble Savage in Mary Shelley's Franken- Press, Inc., 1993. Copyright 1993 by Nicholas J.
stein" by Milton Millhauser. Oxford University Karolides, Lee Burress, John M. Kean. Reproduced
Press. Reproduced by permission of the publisher by permission.
and the Literary Estate of Milton Millhauser. Scarseth, Thomas. From "A Teachable Good
Women's Studies: An Interdisciplinary Jour- Book: 'Of Mice and Men,''' in Censored Books:
nal, v. 12, February, 1986. Gordon and Breach Critical Viewpoints. Nicholas J. KaroJides, Lee
Science Publishers. Reproduced by permission. Burress, John M. Kean, eds. The Scarecrow Press,
COPYRIGHTED EXCERPTS IN NFS, VOL- Inc., 1993. Copyright 1993 by Nicholas J.
UME 1, WERE REPRODUCED FROM THE Karolides, Lee Burress, John M. Kean. Reproduced
FOLLOWING BOOKS: by permission.
Adams, Timothy Dow. From Telling lies in Sewall, Richard B. From The Vision of
Modern American Autobiography. The University Tragedy. Yale University Press, 1959. Copyright
of North Carolina Press, 1990. 1990 The Uni- 1959 by Yale University Press, Inc. Renewed
versity of North Carolina Press. All rights reserved. 1987 by Richard B. Sewall. All rights reserved. Re-
Reproduced by permission of the publisher and the produced by permission of the author.
author. Wood, Diane S. From "Bradbury and Atwood:
Baker, Carlos. From "Chapter 17," in The Exile as Rational Decision," in The Literature of
American Novel from Cooper to Faulkner. Edited Emigration and Exile. Edited by James Whitlark
by Wallace Stegner. Basic Books, 1965. 1965 and Wendall Aycock. Texas Tech University Press,
by Basic Books, Inc., Publishers. Reproduced by 1992. Copyright 1992 Texas Tech University Press.
permission of Basic Books, a division of Harper- All rights reserved. Reproduced by permission of
CoIlins Publishers, Inc. the publisher.
Brown, Julia Prewitt. From "The 'Social His- PHOTOGRAPHS AND ILLUSTRATIONS
tory' of 'Pride and Prejudice' ," in Approaches to APPEARING IN NFS, VOLUME 1, WERE
Teaching Austen's Pride and Prejudice. Edited by RECEIVED FROM THE FOLLOWING
Marcia McClintock Folsom. Modem Language As- SOURCES:
sociation of America, 1993. Reproduced by per-
APIWIDE WORLD PHOTOS: Clemens, Sam-
mission of the Modem Language Association of
uel (seated in a rocking chair), photograph.
America.
APlWide World Photos. Reproduced by permis-
Johnson, Wayne L. From Ray Bradbury. Fred- sion. Guest, Judith (in striped sweater), 1976, pho-
erick Ungar Publishing Company, 1980. Copyright tograph. APlWide World Photos. Reproduced by
1980 by Frederick Ungar Publishing Co., Inc. permission. Helier, Joseph, photograph. APlWide
Reproduced by permission. World Photos. Reproduced by permission. Garcia
Kneedler, Susan. From "The New Romance Marquez, Gabriel, photograph. APlWide World
in 'Pride and Prejudice,''' in Approaches to Photos. Reproduced by permission. Morrison, Toni
Teaching Austen's Pride and Prejudice. Edited (bandanna on head), photograph. APlWide World
by Marcia McClintock Folsom. Modem Language Photos. Reproduced by permission. Morrison, Toni
Association of America, 1993. Reproduced by per- (accepting Nobel Prize), 1993, photograph.
Volume x vi;
Acknowledgments
APlWide World Photos, Inc. Reproduced by per- Samuel John Stump. Corbis-Bettmann. Repro-
mission. Plath, Sylvia, photograph. APlWide duced by permission. Street scene (buses, rick-
World Photos. Reproduced by permission. shaws, carriers in street), Chungking, China, 1944,
Salinger, J. D., photograph. APlWide World Pho- photograph. UPIICorbis-Bettmann. Reproduced by
tos. Reproduced by permission. Tan, Amy, photo- permission. Temple, Shirley (as a child, curtseying
graph. APlWide World Photos. Reproduced by per- in accordion-pleated dress), photograph. Corbis-
mission. Bettmann. Reproduced by permission. Troops of
ARCHIVE PHOTOS, INe.: Arkin, Alan, in the the 85th Division march through the Porta Mag-
film "Catch 22," photograph. Archive Photos. Re- giore, 1944, Rome, photograph. Corbis-Bettmann.
produced by permission. Bradbury, Ray, photo- Reproduced by permission. Two young men stand-
graph. Archive Photos, Inc. Reproduced by per- ing outside Swing Rendezvous club, 1955, Green-
mission. Hirsch, Judd, and Timothy Hutton in the wich Village, photograph. UPIICorbis-Bettmann.
movie "Ordinary People," photograph. Archivel Reproduced by permission. Wright, Richard
Paramount. Reproduced by permission. Steinbeck, (seated, typing next to window), photograph. Cor-
John, photograph. Archive Photos, Inc. Repro- bis-Bettmann, Reproduced by permission.
duced by permission. Wright, Richard, photograph. BLACK STAR: Hemingway, Emest (fringed
Archive Photos. Reproduced by permission. buckskin shirt), photograph. Hans MalmbergIBlack
THE BETTMANN ARCHIVElNEWSPHOTOS, Star. Reproduced by permission.
INe.: Cooper, Gary, and Helen Hayes, in film "A GALE RESEARCH INe. (Detroit): Map of
Farewell to Arms," photograph. UPIICorbis- Colombia, illustration. Gale Research Inc. Repro-
Bettmann. Reproduced by permission. English am- duced by permission.
bulance driver (standing next to truck), c. 1918,
Italy, photograph. UPIICorbis-Bettmann. Repro- THE KOBAL COLLECTION: Chin, Kieu
(with other cast members) in the film "The Joy
duced by permission. Field hands sitting on bagged
wheat, c. 1880, Moro, Oregon, photograph by W. Luck Club," photograph. The Kobal Collection.
Reproduced by permission. Christie, Julie, and Os-
A. Raymond. Corbis-Bettmann. Reproduced by
permission. Garcfa Marquez, Gabriel (being inter- kar Wemer in the movie "Fahrenheit 451," photo-
viewed, on couch), photograph. UPIICorbis- graph. The Kobal Collection. Reproduced by per-
mission. Garson, Greer and Laurence Olivier (in a
Bettmann. Reproduced by permission. Gish, Lil-
lian, and Lars Hanson in the film "The Scarlet scene from the 1940 motion picture "Pride and
Letter," 1926, photograph. Springer/Corbis-Bett- Prejudice"), photograph. The Kobal Collection.
mann. Reproduced by permission. Laborers weigh- Reproduced by permission. Hassett, Marilyn (sit-
ing cotton, horse and wagon, c. 1910, photograph. ting on floor), in the film "The Bell Jar" by Sylvia
Corbis-Bettmann. Reproduced by permission. Mis- Plath, photograph. The Kobal Collection. Repro-
sissippi riverboat loading logs, print by Currier and duced by permission. Hutton, Timothy and Dinah
Ives. Corbis-Bettmann, Reproduced by permission. Manoff (in a scene from the 1980 motion picture
Nazi youths burning books, 1933, Berlin, photo- "Ordinary People"), photograph. The Kobal Col-
graph. UPIICorbis-Bettmann. Reproduced by per- lection. Reproduced by permission. Karloff, Boris
mission. Nurse attending patient sleeping on floor, (walking in village), in movie "Frankenstein,"
photograph. UPIICorbis-Bettmann. Reproduced by 1935, photograph. The Kobal Collection. Repro-
permission. Office workers seated at desks, large duced by permission. Sinise, Gary, and John
windows along side, 1952, photograph. UPIICor- Malkovich, in film of "Of Mice and Men" by John
bis-Bettmann. Reproduced by permission. Puritan Steinbeck, photograph. The Kobal Collection. Re-
with musket standing in doorway, 1882, woodcut. produced by permission.
Corbis-Bettmann. Reproduced by permission. SOURCE UNKNOWN: Austen, Jane, water-
Rooney, Mickey, as Huck Finn in "The Adventures color drawing by Cassandra Austen. First illustra-
of Huckleberry Finn," photograph. Springer/Cor- tion of the Frankenstein Monster, by Mary Shelley.
bis-Bettmann. Reproduced by permission. Shelley, Hawthome, Nathaniel, photograph. Jane Austen's
Mary Wollstonecraft (daisy trim), painting by home at Chawton, photograph.
Volume 1
The Adventures of Huckleberry Finn
Volume 329
Glossary of Literary Terms
Avant-garde: French term meaning "vanguard." It Burlesque: Any literary work that uses exaggera-
is used in literary criticism to describe new writing tion to make its subject appear ridiculous, either by
that rejects traditional approaches to literature in treating a trivial subject with profound seriousness
favor of innovations in style or content. or by treating a dignified subject frivolously. The
word "burlesque" may also be used as an adjective,
as in "burlesque show," to mean "striptease act."
B
Beat Movement: A period featuring a group of
American poets and novelists of the 1950s and
c
1960s-including Jack Kerouac, Alien Ginsberg, Character: Broadly speaking, a person in a liter-
Gregory Corso, William S. Burroughs, and Law- ary work. The actions of characters are what con-
rence Ferlinghetti-who rejected established social stitute the plot of a story, novel, or poem. There are
and literary values. Using such techniques as stream numerous types of characters, ranging from sim-
of consciousness writing and jazz-influenced free ple, stereotypical figures to intricate, multifaceted
verse and focusing on unusual or abnormal states ones. In the techniques of anthropomorphism and
of mind-generated by religious ecstasy or the use personification, animals-and even places or
of drugs-the Beat writers aimed to create works things-can assume aspects of character. "Charac-
that were unconventional in both form and subject terization" is the process by which an author cre-
matter. ates vivid, believable characters in a work of art.
This may be done in a variety of ways, including
Bildungsroman: A German word meaning "novel ( I) direct description of the character by the narra-
of development." The bildungsroman is a study of tor; (2) the direct presentation of the speech,
the maturation of a youthful character, typically thoughts, or actions of the character; and (3) the re-
brought about through a series of social or sexual sponses of other characters to the character. The
encounters that lead to self-awareness. Bildungs- term "character" also refers to a form originated by
roman is used interchangeably with erziehungsro- the ancient Greek writer Theophrastus that later be-
man, a novel of initiation and education. When a came popular in the seventeenth and eighteenth
bildungsroman is concerned with the development centuries. It is a short essay or sketch of a person
of an artist (as in James Joyce's A Portrait of the who prominently displays a specific attribute or
Artist as a Young Man), it is often termed a kun- quality, such as miserliness or ambition.
stlerroman. Also known as Apprenticeship Novel,
Coming of Age Novel, Erziehungsroman, or Kun- Climax: The turning point in a narrative, the mo-
stlerroman. ment when the conflict is at its most intense. Typ-
ically, the structure of stories, novels, and plays is
Black Aesthetic Movement: A period of artistic one of rising action, in which tension builds to the
and literary development among African Ameri- climax, followed by falling action, in which ten-
cans in the 1960s and early 1970s. This was the sion lessens as the story moves to its conclusion.
first major African-American artistic movement
since the Harlem Renaissance and was closely par- CoUoquialism: A word, phrase, or form of pro-
alleled by the civil rights and black power move- nunciation that is acceptable in casual conversation
ments. The black aesthetic writers attempted to pro- but not in formal, written communication. It is con-
duce works of art that would be meaningful to the sidered more acceptable than slang.
black masses. Key figures in black aesthetics in- Coming of Age Novel: See Bildungsroman
cluded one of its founders, poet and playwright
Amiri Baraka, formerly known as LeRoi Jones; Concrete: Concrete is the opposite of abstract, and
poet and essayist Haki R. Madhubuti, formerly Don refers to a thing that actually exists or a descrip-
L. Lee; poet and playwright Sonia Sanchez; and tion that allows the reader to experience an object
dramatist Ed Bullins. Also known as Black Arts or concept with the senses.
Movement. Connotation: The impression that a word gives be-
yond its defined meaning. Connotations may be
Black Humor: Writing that places grotesque ele-
universally understood or may be significant only
ments side by side with humorous ones in an at-
to a certain group.
tempt to shock the reader, forcing him or her to
laugh at the horrifying reality of a disordered world. Convention: Any widely accepted literary device,
Also known as Black Comedy. style, or form.
Volume 331
Glossary of Literary Terms
ther self-contained narratives or events that depend FaUing Action: See Denouement
on a larger context for their sense and importance. Fantasy: A literary form related to mythology and
Epistolary Novel: A novel in the form of letters. folklore. Fantasy literature is typically set in non-
The form was particularly popular in the eighteenth existent realms and features supernatural beings.
century. Farce: A type of comedy characterized by broad
Epithet: A word or phrase, often disparaging or humor, outlandish incidents, and often vulgar sub-
abusive, that expresses a character trait of someone ject matter.
or something. Femme fatale: A French phrase with the literal
Existentialism: A predominantly twentieth- translation "fatal woman." A femme fatale is a sen-
century philosophy concerned with the nature and suous, alluring woman who often leads men into
perception of human existence. There are two ma- danger or trouble.
jor strains of existentialist thought: atheistic and Fiction: Any story that is the product of imagina-
Christian. Followers of atheistic existentialism be- tion rather than a documentation of fact. Charac-
lieve that the individual is alone in a godless uni- ters and events in such narratives may be based in
verse and that the basic human condition is one of real life but their ultimate form and configuration
suffering and loneliness. Nevertheless, because is a creation of the author.
there are no fixed values, individuals can create
Figurative Language: A technique in writing in
their own characters-indeed, they can shape them-
which the author temporarily interrupts the order,
selves-through the exercise of free will. The athe-
construction, or meaning of the writing for a par-
istic strain culminates in and is popularly associ-
ticular effect. This interruption takes the form of one
ated with the works of Jean-Paul Sartre. The
or more figures of speech such as hyperbole, irony,
Christian existentialists, on the other hand, believe
or simile. Figurative language is the opposite of lit-
that only in God may people find freedom from
eral language, in which every word is truthful, ac-
life's anguish. The two strains hold certain beliefs
curate, and free of exaggeration or embellishment.
in common: that existence cannot be fully under-
stood or described through empirical effort; that an- Figures of Speech: Writing that differs from cus-
guish is a universal element of life; that individu- tomary conventions for construction, meaning, or-
als must bear responsibility for their actions; and der, or significance for the purpose of a special
that there is no common standard of behavior or meaning or effect. There are two major types of
perception for religious and ethical matters. figures of speech: rhetorical figures, which do not
make changes in the meaning of the words, and
Expatriates: See Expatriatism
tropes, which do.
Expatriatism: The practice ofleaving one's coun-
Fin de siecle: A French term meaning "end of the
try to live for an extended period in another coun-
century." The term is used to denote the last decade
try.
of the nineteenth century, a transition period when
Exposition: Writing intended to explain the nature writers and other artists abandoned old conventions
of an idea, thing, or theme. Expository writing is and looked for new techniques and objectives.
often combined with description, narration, or ar-
First Person: See Point of View
gument. In dramatic writing, the exposition is the
introductory material which presents the characters, Flashback: A device used in literature to present
setting, and tone of the play. action that occurred before the beginning of the
story. Flashbacks are often introduced as the
Expressionism: An indistinct literary term, origi-
dreams or recollections of one or more characters.
nally used to describe an early twentieth-century
school of German painting. The term applies to al- Foil: A character in a work of literature whose
most any mode of unconventional, highly subjec- physical or psychological qualities contrast
tive writing that distorts reality in some way. strongly with, and therefore highlight, the corre-
sponding qualities of another character.
Folklore: Traditions and myths preserved in a cul-
F ture or group of people. Typically, these are passed
Fable: A prose or verse narrative intended to con- on by word of mouth in various forms-such as
vey a moral. Animals or inanimate objects with legends, songs, and proverbs-or preserved in cus-
human characteristics often serve as characters in toms and ceremonies. This term was first used by
fables. W. J. Thoms in 1846.
Folktale: A story originating in oral tradition. Folk- Neale Hurston. Also known as Negro Renaissance
tales fall into a variety of categories, including leg- and New Negro Movement.
ends, ghost stories, fairy tales, fables, and anec-
HerolHeroine: The principal sympathetic charac-
dotes based on historical figures and events.
ter (male or female) in a literary work. Heroes and
Foreshadowing: A device used in literature to cre- heroines typically exhibit admirable traits: ideal-
ate expectation or to set up an explanation of later ism, courage, and integrity, for example.
developments.
Holocaust Literature: Literature influenced by or
Form: The pattern or construction of a work which written about the Holocaust of World Warn. Such
identifies its genre and distinguishes it from other literature includes true stories of survival in con-
genres. centration camps, escape, and life after the war, as
well as fictional works and poetry.
Volume 333
Glossary of Literary Terms
Irony: In literary criticism, the effect of language Motif: A theme, character type, image, metaphor,
in which the intended meaning is the opposite of or other verbal element that recurs throughout a sin-
what is stated. gle work of literature or occurs in a number of dif-
ferent works over a period of time. Also known as
Motiv or Leitmotiv.
J Myth: An anonymous tale emerging from the tra-
Jargon: Language that is used or understood only ditional beliefs of a culture or social unit. Myths
by a select group of people. Jargon may refer to use supernatural explanations for natural phenom-
terminology used in a certain profession, such as ena. They may also explain cosmic issues like cre-
computer jargon, or it may refer to any nonsensi- ation and death. Collections of myths, known as
cal language that is not understood by most peo- mythologies, are common to all cultures and na-
ple. tions, but the best-known myths belong to the
Norse, Roman, and Greek mythologies.
L
Leitmotiv: See Motif N
Narration: The telling of a series of events, real
Literal Language: An author uses literal language
or invented. A narration may be either a simple nar-
when he or she writes without exaggerating er em-
rative, in which the events are recounted chrono-
bellishing the subject matter and without any tools
logically, or a narrative with a plot, in which the
of figurative language.
account is given in a style reflecting the author's
Lost Generation: A term first used by Gertrude artistic concept of the story. Narration is sometimes
Stein to describe the post-World War I generation used as a synonym for "storyline."
of American writers: men and women haunted by
Narrative: A verse or prose accounting of an event
a sense of betrayal and emptiness brought about by
or sequence of events, real or invented. The term
the destructiveness of the war. is also used as an adjective in the sense "method
of narration." For example, in literary criticism, the
expression "narrative technique" usually refers to
M the way the author structures and presents his or
Mannerism: Exaggerated, artificial adherence to a her story.
literary manner or style. Also, a popular style of
Narrator: The teller of a story. The narrator may
the visual arts of late sixteenth-century Europe that
be the author or a character in the story through
was marked by elongation of the human form and
whom the author speaks.
by intentional spatial distortion. Literary works that
are self-consciously high-toned and artistic are of- Naturalism: A literary movement of the late nine-
ten said to be "mannered." teenth and early twentieth centuries. The move-
ment's major theorist, French novelist Emile Zola,
Metaphor: A figure of speech that expresses an envisioned a type of fiction that would examine hu-
idea through the image of another object. man life with the objectivity of scientific inquiry.
Metaphors suggest the essence of the first object
The Naturalists typically viewed human beings as
by identifying it with certain qualities of the sec- either the products of "biological determinism,"
ond object. ruled by hereditary instincts and engaged in an end-
Modernism: Modern literary practices. Also, the less struggle for survival, or as the products of "so-
principles of a literary school that lasted from cioeconomic determinism," ruled by social and
roughly the beginning of the twentieth century un- economic forces beyond their control. In their
til the end of World War 11. Modernism is defined works, the Naturalists generally ignored the high-
by its rejection of the literary conventions of the est levels of society and focused on degradation:
nineteenth century and by its opposition to con- poverty, alcoholism, prostitution, insanity, and dis-
ventional morality, taste, traditions, and economic ease.
values. Noble Savage: The idea that primitive man is no-
Mood: The prevailing emotions of a work or of the ble and good but becomes evil and corrupted as he
author in his or her creation of the work. The mood becomes civilized. The concept of the noble sav-
of a work is not always what might be expected age originated in the Renaissance period but is
based on its subject matter. more closely identified with such later writers as
Jean-Jacques Rousseau and Aphra Behn. See also Parallelism: A method of comparison of two ideas
Primitivism. in which each is developed in the same grammat-
Novel of Ideas: A novel in which the examination ical structure.
of intellectual issues and concepts takes precedence Parody: In literary criticism, this term refers to an
over characterization or a traditional storyline. imitation of a serious literary work or the signature
Novel of Manners: A novel that examines the cus- style of a particular author in a ridiculous manner.
toms and mores of a cultural group. A typical parody adopts the style of the original
and applies it to an inappropriate subject for hu-
Novel: A long fictional narrative written in prose,
morous effect. Parody is a form of satire and could
which developed from the novella and other early
be considered the literary equivalent of a caricature
forms of narrative. A novel is usually organized un-
or cartoon.
der a plot or theme with a focus on character de-
velopment and action. Pastoral: A term derived from the Latin word "pas-
Novella: An Italian term meaning "story." This tor," meaning shepherd. A pastoral is a literary
term has been especially used to describe four- composition on a rural theme. The conventions of
teenth-century Italian tales, but it also refers to the pastoral were originated by the third-century
Greek poet Theocritus, who wrote about the expe-
modern short novels.
riences, love affairs, and pastimes of Sicilian shep-
herds. In a pastoral, characters and language of a
o courtly nature are often placed in a simple setting.
The term pastoral is also used to classify dramas,
Objective Correlative: An outward set of objects,
elegies, and lyrics that exhibit the use of country
a situation, or a chain of events corresponding to
settings and shepherd characters.
an inward experience and evoking this experience
in the reader. The term frequently appears in mod- Pen Name: See Pseudonym
ern criticism in discussions of authors' intended ef- Persona: A Latin term meaning "mask." Personae
fects on the emotional responses of readers. are the characters in a fictional work of literature.
Objectivity: A quality in writing characterized by The persona generally functions as a mask through
the absence of the author's opinion or feeling about which the author tells a story in a voice other than
the subject matter. Objectivity is an important fac- his or her own. A persona is usually either a char-
tor in criticism. acter in a story who acts as a narrator or an "im-
Oedipus Complex: A son's amorous obsession plied author," avoice created by the author to act
with his mother. The phrase is derived from the as the narrator for himself or herself.
story of the ancient Theban hero Oedipus, who un- Personification: A figure of speech that gives hu-
knowingly killed his father and married his mother. man qualities to abstract ideas, animals, and inan-
Omniscience: See Point of View imate objects. Also known as Prosopopoeia.
Onomatopoeia: The use of words whose sounds Picaresque Novel: Episodic fiction depicting the
express or suggest their meaning. In its simplest adventures of a roguish central character ("picaro"
sense, onomatopoeia may be represented by words is Spanish for "rogue"). The picaresque hero is
that mimic the sounds they denote such as "hiss" commonly a low-born but clever individual who
or "meow." At a more subtle level, the pattern and wanders into and out of various affairs of love, dan-
rhythm of sounds and rhymes of a line or poem ger, and farcical intrigue. These involvements may
may be onomatopoeic. take place at all social levels and typically present
Oxymoron: A phrase combining two contradictory a humorous and wide-ranging satire of a given so-
terms. Oxymorons may be intentional or uninten- ciety.
tional. Plagiarism: Claiming another person's written ma-
terial as one's own. Plagiarism can take the form
of direct, word-for-word copying or the theft of the
p substance or idea of the work.
Parable: A story intended to teach a moral lesson Plot: In literary criticism, this term refers to the
or answer an ethical question. pattern of events in a narrative or drama. In its sim-
Paradox: A statement that appears illogical or con- plest sense, the plot guides the author in compos-
tradictory at first, but may actually point to an un- ing the work and helpsthe reader follow the work.
derlying truth. Typically, plots exhibit causality and unity and
Volume 335
Glossary of Literary Terms
have a beginning, a middle, and an end. Sometimes, movement of the 1960s and early '70s. Writers
however, a plot may consist of a series of discon- since that time have adopted a somewhat different
nected events, in which case it is known as an tone in their work, with less emphasis placed on
"episodic plot." the disparity between black and white in the United
Poetic Justice: An outcome in a literary work, not States. In the words of post-aesthetic authors such
necessarily a poem, in which the good are rewarded as Toni Morrison, John Edgar Wideman, and
and the evil are punished, especially in ways that Kristin Hunter, African Americans are portrayed as
particularly fit their virtues or crimes. looking inward for answers to their own questions,
rather than always looking to the outside world.
Poetic License: Distortions of fact and literary con-
Postmodernism: Writing from the 1960s forward
vention made by a writer-not always a poet-for
characterized by experimentation and continuing to
the sake of the effect gained. Poetic license is
apply some of the fundamentals of modernism,
closely related to the concept of "artistic freedom."
which included existentialism and alienation. Post-
Poetics: This term has two closely related mean- modernists have gone a step further in the rejection
ings. It denotes (1) an aesthetic theory in literary of tradition begun with the modernists by also re-
criticism about the essence of poetry or (2) rules jecting traditional forms, preferring the anti-novel
prescribing the proper methods, content, style, or over the novel and the antihero over the hero.
diction of poetry. The term poetics may also refer
Primitivism: The belief that primitive peoples
to theories about literature in general, not just po-
were nobler and less flawed than civilized peoples
etry.
because they had not been subjected to the tainting
Point of View: The narrative perspective from influence of society. See also Noble Savage.
which a literary work is presented to the reader. Prologue: An introductory section of a literary
There are four traditional points of view. The "third work. It often contains information establishing the
person omniscient" gives the reader a "godlike" situation of the characters or presents information
perspective, unrestricted by time or place, from about the setting, time period, or action. In drama,
which to see actions and look into the minds of the prologue is spoken by a chorus or by one of the
characters. This allows the author to comment principal characters.
openly on characters and events in the work. The
"third person" point of view presents the events of Prose: A literary medium that attempts to mirror
the story from outside of any single character's per- the language of everyday speech. It is distinguished
ception, much like the omniscient point of view, from poetry by its use of unmetered, unrhymed lan-
but the reader must understand the action as it takes guage consisting of logically related sentences.
place and without any special insight into charac- Prose is usually grouped into paragraphs that form
ters' minds or motivations. The "first person" or a cohesive whole such as an essay or a novel.
"personal" point of view relates events as they are Prosopopoeia: See Personification
perceived by a single character. The main charac- Protagonist: The central character of a story who
ter "tells" the story and may offer opinions about serves as a focus for its themes and incidents and
the action and characters which differ from those as the principal rationale for its development. The
of the author. Much less common than omniscient, protagonist is sometimes referred to in discussions
third person, and first person is the "second per- of modern literature as the hero or antihero.
son" point of view, wherein the author tells the
Protest Fiction: Protest fiction has as its primary
story as if it is happening to the reader.
purpose the protesting of some social injustice,
Polemic: A work in which the author takes a stand such as racism or discrimination.
on a controversial subject, such as abortion or re-
Proverb: A brief, sage saying that expresses a truth
ligion. Such works are often extremely argumenta-
about life in a striking manner.
tive or provocative.
Pseudonym: A name assumed by a writer, most
Pornography: Writing intended to provoke feel- often intended to prevent his or her identification
ings of lust in the reader. Such works are often con- as the author of a work. Two or more authors may
demned by critics and teachers, but those which can work together under one pseudonym, or an author
be shown to have literary value are viewed less may use a different name for each genre he or she
harshly. publishes in. Some publishing companies maintain
Post-Aesthetic Movement: An artistic response "house pseudonyms," under which any number of
made by African Americans to the black aesthetic authors may write installations in a series. Some
authors also choose a pseudonym over their real pression to rational analysis. They considered the
names the way an actor may use a stage name. individual to be at the center of all experience and
Pun: A play on words that have similar sounds but so placed him or her at the center of their art. The
different meanings. Romantics believed that the creative imagination
reveals nobler truths-unique feelings and atti-
tudes-than those that could be discovered by logic
R or by scientific examination. Both the natural world
Realism: A nineteenth-century European literary and the state of childhood were important sources
movement that sought to portray familiar charac- for revelations of "eternal truths." "Romanticism"
ters, situations, and settings in a realistic manner. is also used as a general term to refer to a type of
This was done primarily by using an objective nar- sensibility found in all periods of literary history
rative point of view and through the buildup of ac- and usually considered to be in opposition to the
curate detail. The standard for success of any real- principles of classicism. In this sense, Romanticism
istic work depends on how faithfully it transfers signifies any work or philosophy in which the ex-
common experience into fictional forms. The real- otic or dreamlike figure strongly, or that is devoted
istic method may be altered or extended, as in to individualistic expression, self-analysis, or a pur-
stream of consciousness writing, to record highly suit of a higher realm of knowledge than can be
subjective experience. discovered by human reason.
Repartee: Conversation featuring snappy retorts Romantics: See Romanticism
and witticisms.
Resolution: The portion of a story following the
climax, in which the conflict is resolved. See also
s
Satire: A work that uses ridicule, humor, and wit
Denouement. to criticize and provoke change in human nature
Rhetoric: In literary criticism, this term denotes and institutions. There are two major types of
the art of ethical persuasion. In its strictest sense, satire: "formal" or "direct" satire speaks directly to
rhetoric adheres to various principles developed the reader or to a character in the work; "indirect"
since classical times for arranging facts and ideas satire relies upon the ridiculous behavior of its char-
in a clear, persuasive, appealing manner. The term acters to make its point. Formal satire is further di-
is also used to refer to effective prose in general vided into two manners: the "Horatian," which
and theories of or methods for composing effective ridicules gently, and the "Juvenalian," which de-
prose. rides its subjects harshly and bitterly.
Rhetorical Question: A question intended to pro- Science Fiction: A type of narrative about or based
voke thought, but not an expressed answer, in the upon real or imagined scientific theories and tech-
reader. It is most commonly used in oratory and nology. Science fiction is often peopled with alien
other persuasive genres. creatures and set on other planets or in different di-
Rising Action: The part of a drama where the plot mensions.
becomes increasingly complicated. Rising action Second Person: See Point of View
leads up to the climax, or turning point, of a drama. Setting: The time, place, and culture in which the
Roman a clef: A French phrase meaning "novel action of a narrative takes place. The elements of
with a key." It refers to a narrative in which real setting may include geographic location, charac-
persons are portrayed under fictitious names. ters' physical and mental environments, prevailing
Romance: A broad term, usually denoting a nar- cultural attitudes, or the historical time in which the
rative with exotic, exaggerated, often idealized action takes place.
characters, scenes, and themes. SimUe: A comparison, usually using "like" or "as",
Romanticism: This term has two widely accepted of two essentially dissimilar things, as in "coffee as
meanings. In historical criticism, it refers to a Eu- cold as ice" or "He sounded like a broken record."
ropean intellectual and artistic movement of the late Slang: A type of informal verbal communication
eighteenth and early nineteenth centuries that that is generally unacceptable for formal writing.
sought greater freedom of personal expression than Slang words and phrases are often colorful exag-
that allowed by the strict rules of literary form and gerations used to emphasize the speaker's point;
logic of the eighteenth-century neoclassicists. The they may also be shortened versions of an often-
Romantics preferred emotional and imaginative ex- used word or phrase.
Volume 337
Glossary of Literary Terms
Volume 339
Cumulative
Author/Title Index
A G o
Of Mice and Men (Steinbeck): VI
The Adventures of Huckleberry Finn Garcfa Marquez, Gabriel
(Twain): VI Love in the Time of Cholera: VI Ordinary People (Guest): VI
Austen, Jane Guest, Judith
Pride and Prejudice: VI Ordinary People: VI
p
Plath, Sylvia
The Bell Jar: VI
B H Pride and Prejudice (Austen): VI
The Bell Jar (plath): VI Hawthorne, Nathaniel
Block Boy (Wright): VI The Scarlet Letter: VI
The Bluest Eye (Morrlson): VI
Bradbury, Ray
Heller, Joseph
Catch-22: VI
s
Salinger, J. D.
Fahrenheit 451: VI Hemingway. Ernest The Catcher in the Rye: VI
A Farewell to Arms: VI The Scarlet Letter (Hawthorne): VI
Shelley, Mary
c J
Frankenstein: VI
Steinbeck, John
Of Mice and Men: VI
Catch-22 (Helier): VI
The Catcher in the Rye The Joy Luck Club (Tan): VI
(Salinger): VI
Clemens, Samuel T
The Adventures of Huckleberry Tan. Amy
Finn: VI L The Joy Luck Club: VI
Love in the Time of Cholera (Garcia Twain, Mark
Marquez): VI The Adventures of Huckleberry
Finn: VI
F
Fahrenheit 451 (Bradbury): VI
A Farewell to Arms M w
(Hemingway): VI Morrison, Toni Wright, Richard
Frankenstein (Shelley): VI The Bluest Eye: VI Black Boy: VI
Volume 1 34 1
Cumulative
Nationality/Ethnicity Index
HelIer. Joseph
African American Catch-22: VI Asian American
Morrison, Toni Hemingway. Ernest Tan. Amy
The Bluest Eye: Vl A Farewell to Arms: Vl The Joy Luck Club: VI
Wright, Richard Morrison. Toni
Black Boy: V1 The Bluest Eye: VI
Plath. Sylvia
The Bell Jar: VI British
Salinger, J. D.
American The Catcher in the Rye: VI
Austen, Jane
Pride and Prejudice: VI
Bradbury, Ray Steinbeck, John
Fahrenheit 451: VI Shelley. Mary
Of Mice and Men: VI
Clemens, Mark Frankenstein: VI
Tan. Amy
The Adventures of Huckleberry The Joy Luck Club: VI
Finn: VI Twain. Mark
Guest. Judith The Adventures of Huckleberry
Ordinary People: VI Finn: VI Colombian
Hawthorne, Nathaniel Wright. Richard Garcfa M4rquez. Gabriel
The Scarlet Letter: VI Black Boy: VI Love in the Time of Cholera: VI
Volume 1 J4J
Subject/Theme Index
BoIdface denotes discussion in Fahrenheit 451: 144 Ordinary People: 265-66,
Themes section. Franlcenstein: 188 270-71
OfMice and Men: 246 Apathy and Passivity
Ordinary People: 270 Fahrenheit 451: 144
A Allegory
Of Mice and Men: 261
Appearances and ReaHty
Frankenstein: 189
Abandonment
The Scarlet Letter: 306,314, Arctic
The Bluest Eye: 84
319-21 Franlcenstein: 182. 190, 193
The Joy Luck Club: 204. 206
Amblplty Asia
Of Mice and Men: 248
The Scarlet Letter: 313 The Joy Luck Club: 203, 205-06,
Absurdity
Ambition 211-12,216-17,219-21
Catch-22: 89-90. 98-101.
The Bell Jar: 22, 30-32, 34 Atonement
103-05
American Midwest The Catcher in the Rye: 135-36
Adolescence
The Adventures of Huckleberry The Scarlet Letter: 320, 322-25,
The Catcher in the Rye: 116. 118.
Finn: 4 327
123. 125, 127
The Joy Luck Club: 211 American Northeast Atonement and Forpvene118
The Bell Jar: 31 Ordinary People: 270
Adultery
Catch-22: 90 Authoritarianism
The Scarlet Letter: 306-Q7. 312.
The Catcher in the Rye: 117-18, Fahrenheit 451: 150, 153
318-19, 321
124.127 Autobiography
Adulthood
The Scarlet Letter: 308, 313-15, Black Boy: 59-60
The Bluest Eye: 68, 73, 75, 77
The Catcher in the Rye: 119, 317
124-25. 134-35 American South
Adventure and Exploration Black Boy: 43-46. 55
American Southwest
B
The Adventures of Huckkberry Beauty
Finn: 3, 15-17 Of Mice and Men: 253-55 The Bluest Eye: 72-77, 79
Frankenstein: 190, 193 American West
Bildungsroman
Aging and Decay The Adventures of Huckleberry
The Bell Jar: 37-39
Love in the Time of Cholera: 228 Finn: 2 The Bluest Eye: 73-74
Alienation The Joy Luck Club: 213
The Catcher in the Rye: 123-24 Of Mice and Men: 240-42, 249,
Fahrenheit 451: 140, 144
A Farewell to Arms: 165-67 Anger
251-52
c
Of Mice and Men: 247 The Catcher in the Rye: 118, Capitalism
Ordinary People: 263, 272 123-24 The Catcher in the Rye: 130
Alienation and Lonel__ Anger Censorship
The Catcher in the Rye: 123 The Bell Jar: 29-30, 33 Black Boy: 55-56
Volume 1 345
Changll and Transformation
Volumf! 1 34 7
Kindness
L M
Landscape Magic N
The Adventures of Huckleberry The Joy Luck Club: 217-18 Nationalism and Patriotism
Finn: 15-16 Love in the Time of Cholera: A Farewell to Arms: 165-66
A Farewell to Arms: 171, 173-78 Nature
233-34
Frankenstein: 182, 184, 189-90 Catch-22: III
Marriage
Love in the Time of Cholera: A Farewell to Arms: 166, 174
The Bell Jar: 30-31, 34
235-36 FranJcenstein: 181, 189-91, 198
Frankenstein: 183, 191, 196
Of Mice and Men: 240, 242, 244, Love in the Time of Cholera: 236
The Joy Luck Club: 205-06, 210
249, 259 Of Mice and Men: 242, 259
Love in the Time of Cholera:
The Scarlet Letter: 314-15 Ordinary People: 277, 279
224, 227-28, 232
LaDauIe and MeanInI Pride and Prejudice: 284-87, Nature vs. Nurture
Catch-22: 100 Frankenstein: 189
292-93, 299-301, 303-04
Law and Order Nazi Germany
MeanInI or Life
The Adventures of Huckleberry Catch-22: 101-02
Block Boy: 51
Finn: 12 Fahrenheit 451: 146-47
Mental DlsabDlty
Block Boy: 50, 53, 55 19205
The Bluest Eye: 68, 78
Of Mice and Men: 248
A Farewell to Arms: 169-70
Catch-22: 104
Mental Instability
19305
The Bell Jar: 33
A Farewell to Arms: 168-69 Of Mice and Men: 240, 247-49,
Frankenstein: 183, 190-91, 193 The Bluest Eye: 69 251-53
Of Mice and Men: 248-49, Misogyny 19405
251-52 A Farewell to Arms: 171 The Bluest Eye: 66, 72, 75-78
The Scarlet Letter: 308, 314-19 Money and Economics 19505
Loneliness Block Boy: 50, 53-54 The Bell Jar: 22, 29-34
Block Boy: 58 Catch-22: 101-02, 105 Catch-22: 103-04
The Catcher in the Rye: 118, 124 The Catcher in the Rye: 125, 130 The Catcher in the Rye: 116, 125,
Fahrenheit 451: 154 A Farewell to Arms: 168-70 127
Of Mice and Men: 241, 243, Frankenstein: 192-93 Fahrenheit 451: 146-49
246-47,257-58 Of Mice and Men: 246, 248-52 19605
Love Pride and Prejudice: 284-85, The Bluest Eye: 72,77-78
Love in the Time of Cholera: 227 295 Catch-22: 90, 102, 104
Love and Passion Morals and Morality 19705
The Adventures of Huckleberry The Adventures of Huckleberry Ordinary People: 263, 265, 272
Finn: 19-20 Finn: 8-9, 19-20 Nomadic Life
The Bluest Eye: 66, 68-69, Catch-22: 99, 105-08 Of Mice and Men: 243, 246, 250,
72-76,79 The Catcher in the Rye: 128, 130, 253-55
The Catcher in the Rye: 136 135 North America
A Farewell to Arms: 158, 160, Frankenstein: lSO-82, 190-91, A Farewell to Arms: 168
166, 173-76, 178 193-94, 199-201
Frankenstein: 182, 189, 191,
195-96, 198-99
Ordinary People: 272
The Scarlet Letter: 312-15,
317-18, 320-27
o
Old Age
The Joy Luck Club: 205-06, 216
Love in the Time of Cholera: Murder Love in the Time of Cholera:
222-29, 232-38 Black Boy: 45, 50 224-25, 227-29, 233, 235
Of Mice and Men: 257-58 Fahrenheit 451: 141
Ordinary People: 263, 266, Music<
271-72,274 The Adventures of Huckleberry P
Pride and Prejudice: 285, 287, Finn: 1I, 13-14 Patriotism
293,299-304 The Catcher in the Rye: 124, 126 A Farewell to Arms: 166
The Scarlet Letter: 306, 308-10, A Farewell to Arms: 169 Perception
314, 318, 322, 324-26 The Joy Luck Club: 220 The Catcher in the Rye: 131, 133
Volume 1 349
Suicide
Suicide
The Bell Jar: 22-23, 25-26, u
Uncertainty
Catch-22: 89-93,98-103,
res-or, 109-13
30-34 The Catcher in the Rye: 125
Love in the Time of Cholera: The Scarlet Letter: 307, 313-15, Fahrenheit 451: 139-41, 145-48
223, 229, 232-34 318 A Farewell to Arms: 158-60,
Understanding 162-68, 170-77
Ordinary People: 263, 265-66,
Ordinary People: 278 The Joy Luck Club: 211-13
270-71,273,277-79
Upper Class Pride and Prejudice: 285,
Pride and Prejudice: 299 Pride and Prejudice: 295-96 294-96
Supernatural Utopianism Wealth
The Scarlet Letter: 308 The Scarlet Letter: 320 The Catcher in the Rye: 118, 125,
Switzerland 127
Frankenstein: 180, 182-83, 190 Wisdom