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CENGAGE
Learning · MindTap
®
•
~tterature
READING II REACTING II WRITING
2016 MLA Update Edition
•
act ~tterature
READING II REACTING II WRITING
Ninth Edition
2016 MLA Update Edition
Laurie G. Kirszner
University of the Sciences, Emeritus
Stephen R. Mandell
Drexel University
~
.. , CENGAGE
1- Lea rning.,
Australia • Brazil • Mexico • Singapore• United Kingdom • United States
CENGAGE
Learning ·
V
vi BRrF.F CONTENTS
•
PART 3 POETRY 649
CHAPTER22 Understanding Poetry 650
CHAPTER 23 Reading and Writing about Poetry 661
CHAPTER 24 Voice 675
CHAPTER 25 Word Choice, Word Order 713
CHAPTER26 Imagery 739
CHAPTER 27 Figures of Speech 758
CHAPTER28 Sound 791
CHAPTER 29 Form 813
CHAPTER 30 Symbol, Allegory, Allusion, Myth 852
CHAPTER 31 Discovering Themes in Poetry 882
CHAPTER 32 The Poetry of Langston Hughes: A Casebook for Reading,
Research, and Writing 911
CHAPTER 33 Poetry for Further Reading 952
Poetry Sampler: Poetry and Art PS1
Credits C1
Glossary of Literary Terms G1
Index of First Lines of Poetry 11
Index of Authors and Titles 15
Index of Literary Terms 118
CONTENTS
Understanding Literature 2
Imaginative Literature 2
Conventional Themes 4
The Literary Canon 6
LUISAVALENZUELA,AU about Suicide 7
Interpreting Literature 8
ROBERT FROST,Stoppingby Woods on a Snowy Evening9 WestminsterBridge,London
[1886)by ClaudeThomasStan-
Evaluating Literature 11 field Moore
Using Literary Criticism 14
.I LIST:Evaluating Literary Criticism
CHECK 14
••
VII
PART
viii 1 CoNTRNTJ;
ApproachingAssignmentsin Literature 36
Writing a Response 36
Writing a Response
./ CHECKLIST: 36
Responding to a Shon Story 37
Student Essay:Response to Tim O 'Brien's
"The Things They Carried" 37
Writing a Comparison-Contrast Essay 38
Writing a Comparison-Contrast
./ CHECKLIST: Essay 40
Apachechildren at the CarlisleIndian
Comparing a Short Story and a Film 40 IndustrialSchool,Pennsylvania,1886
Student Essay:Two Cathedrals 40 (fromstudentessay: "Dreamingof
Home")
Writing an Explication 43
Writing an Explication
./ CHECKLIST: 44
Explicating a Poem 44
Student Essay:A Lingering Doubt 44
Writing a Character Analysis 47
Writing a Character Analysis
./ CHECKLIST: 47
Analyzing a Character in a Play 48
Student Essay:Linda Loman: Breaking the
Mold 48
Writing about a Work's Cultural
Context 50
Writing about a Work's Cultural
./ CHECKLIST:
r,ontext 51
Writing about a Poem's Cultural
Context 51
Student Essay:Dreaming of Home 51
PART
X 1 CoNTRNTJ;
Documentation 91
Enclose Borrowed Words in Quotation Marks 91
.- ~ J.>J"o11 ~(IIM"·!,,~«tfi'f,114A.1Nl'!I
..,,an ....S... 4m,h,.-
l• . A " ''"'' "'"' 1:,,.. • n itt.,
, ) ,, /, ~ll)ol!I- "''- )Of,
...
•' Writing Essay Exams about Literature 104
.!,
Key Words in Exam Questions
Planning an Essay Exam Answer 1 04
Analvze 0 Mr.rihtt Interpret
Review Your Material 104 Clarify
Classltv
OiSCIJSS
Evaluate
Justifv
Relate
Compare Explaitl Summl'lri7A
Consider Your Audien ce and Contrast fdcntify Suppon
Oefioe Illustrate Trace
Purpose 105
Read Through the Entire Exam 105
Read Each Question Carefully 1 05
Brainstorm to Find Ideas 1 06
State Your Thes is 10 7
Make a Scratch Out line 107
Drafting and Revising an Essay Exam Answer 108
Model Student Essay Exam Answer 108
PART
•
C':ONTRNTS 2 XI
FICTION 111
Understanding Fiction 112
Origins of Modem Fiction 112
The History of the Novel 11 3
The History of the Short Story 11 7
Defining the Short Story 11 8
ERNESTHEMINGWAY,HillsLike White Elephants 119
The Boundaries of Fiction 123
ErnestHemingway
JULIAALVAREZ,Snow 126
AMANDABROWN,Love and Other Catastrophes:
A Mix Tape 127
Pilon
SANDRACISNEROS, 128
LYDIADAVIS,Television 129
Accident 131
DAVEEGGERS,
BRETANTHONYJOHNSTON,Encounterswith
UnexpectedAnimals 132 Jamaica Kincaid
STEPHENGRAHAMJONES,Discovering
America 135
JAMAICA KINCAID,Girl 137
EDPARK,Slideto Unlock 138
GEORGE Sticks 141
SAUNDERS,
Writing Suggestions: The Short-Short Story 142
Plot 197
Conflict 198
Stages of Plot 1 98
Order and Sequence 199
LIST: Writing about Plot
./ CHECK 200
KATECHOPIN,The Story of an Hour 201
ORHAN PAMUK,Distant Relations 204
NElL GAiMAN, How to Talk to Girls at Parties 214
A Rose for Emily
WILLIAMFAULKNER, 224
Kate Chopin
Writing Suggestions: Plot 232
DICKPOTHIERANDTHOMASJ . GIBBONSJR.,A Woman's Wintry Death Leads
to a Long,Dead Friend 2 3 3
Character 235
Round and Flat Characters 236
Dynamic and Static Characters 236
Motivation 217
LIST:Writing about Character
./ CHECK 237
JOHNUPDIKE,A&P 238
9:-?. Fiction in Film: John Updike's "A&P" 244
INEMANSFIELD,Miss Brill 245
KATHER
BAXTER,Gryphon
CHARLES 250
ZadieSmith
ZADIE SMITH,The Girl with Bangs 262
Writing Suggestions: Character 267
PART
•••
C':ONTRNTS 2 XIII
Setting 269
Historical Setting 2 70
Geographical Setting 2 71
Physical Setting 2 71
LIST:Writing about Setting
./ CHECK 272
KATECHOPIN.The Storm 273
SHERMANALEXIE,This Is What It Means to Say Phoenix,
Arizona 278
ShermanAlexie
RALPHELLISON.BattleRoyal 287
TILLIEOLSEN,I Stand Here Ironing 299
Fiction in Film: Tillie Olsen's "I Stand Here Ironing" 306
Writing Suggestions: Setting 307
Point of View 3 09
First, Person Narrators 31 0
l Jnreli::ihle N::irr::iton. 311
Third, Person Narrators 312
Omni scient N arrato rs 312
Limited Omniscient Narrators 31 3
Objective Narrators313
Selecting an Appropriate Point of View 314
LIST:Selecting an Appropriate Point of View:
./ CHECK
Review 317 EdwidgeDanticat
LIST:Writing about Point of View
./ CHECK 31 7
RICHARDWRIGHT,Bi1;Black Good Man 318
EDGARALLAN POE,The Cask of Amontillado 328
WILLIAM FAULKNER,Barn Burning 335
EDWIDGEDANTICAT,New York Day Women 348
Writing Suggestions: Point of View 3 54
JamesJoyce
PART
xiv 2 CoNTRNTJ;
JAMESJOYCE,Araby 361
FLANNERY
O'CONNOR,
A GoodMan Is Hard
tn Find 367
CHARLOTIEPERKINSGILMAN,The YellowWallpaper 379
TIM O'BRIEN,The Thinl{SThey Carried 392
Writing Suggestions: Style, Tone, and Language 406
Theme 459
Interpreting Themes 460
Identifying Themes 461
LIST:Writing about Theme
,/ CHECK 463
EUDORAWELTY,A Worn Path 463
Fiction in Film: Eudora Welty's "A Worn
Path" 470
DAVIDMICHAELKAPLAN,Doe Season 472
D(AVID)H!ERBERT) LAWRENCE, The Rockinp/Horse
D(avid)H(erbert) Lawrence
Winner 484
TOBIAS WOLFF,Bulletin the Brain 496
Writing Suggestions: Theme 501
ROBERTHUFF,Rainbow 501
PART
C':ONTRNTS 2 XV
ABOUTTHEAUTHOR 504
JOYCECAROLOATES,WhereAre You Goin~,Where
STORY:
Have You Been? 506
READINGAND REACTING 517
SOURCES 518
Background 51 8
JOYCECAROLOATES,When Charactersfrom the PageAre
Joyce CarolOates
Made Fl.eshon the Screen 51 8
BOBDYLAN,It's All Over Now, BalryBlue 522
DONMOSER,from The PiedPiperof Tucson 523
ANONYMOUS, The PiedPiperof Hamelin 525
CHARLESPERRAULT, Little Red RidingHood 526
Critical Perspectives 528
Joyce CarolOates's "WhereAre You Going, Where Have
A. R.COULTHARD,
You Been?"as PureRealism 528
LAURAKALPAKIAN,from a review of Where Are You Going, Where Have You
Been?:SelectedEarly Stories 5 3 3
LARRYRUBIN,Oates's "WhereAre You Goin~,Where Have You Been?" 536
PETERDICKINSON, from Ridingin Cars with Boys:Reconsidering
Smooth Talk 5 3 8
TOPICSFORFURTHER
RESEARCH541
Theme 543
CHINUAACHEBE,DeadMan's Path 543
ATWOOD,Happy Endin~s 545
MARGARET
JAMESBALDWIN,Sonny's Blues 547
BOYLE,GreasyLake
T. CORAGHESSAN 569
JUNDTDIAZ,No Face 577
JAMESFRANCO,Halloween 580
A Very Old Man with Enormous
GABRIELGARCIAMARQUEZ,
Wings 585 EdgarAllan Poe
HAJIN, The Bane of the Internet 590
FRANZKAFKA,A HungerArtist 592
LORRIEMOORE,Referential 598
JOYCECAROLOATES,Heat 603
PART
xvi 3 CoNTRNTJ;
PAJlTI PlatlY
Understanding Poetry 650
MARIANNEMOORE,Poetry 650
PAMELASPIROWAGNER,How to Read a Poem: Beginner's
Manual 651
Origins of Modem Poetry 652
Defining Poetry 65 7
WILLIAM SHAKESPEARE, That time of year thou mayst in me
heho/J 658 Illustrationof Trojan horse
fromVirgil's Aenied.
E. E,CUMMINGS,l(a 659
Recognizing Kinds of Poetry 659
Narrative Poetry 660
Lyric Poetry 660
Voice 675
EMILYDICKINSON,I'm nobody!Who are you? 675
The Speaker in the Poem 676
LOUISEGLOCK,Gretelin Darkness 677
LANGSTONHUGHES, Negro 678
ROBERT BROWNING,My Last Duchess 679
Further Reading : The Speaker in the Poem 682
LESLIE MARMONSILKO,WhereMountain Lion Lay Down with
Deer 682
Janice Mirikitani
JANICEMIRIKITANI, SuicideNote 683
RAFAELCAMPO, My Voice 68.S
The Tone of the Poem 686
ROBERT FROST,Fireand Tee 686
THOMASHARDY,The Man He Killed 687
AMY LOWELL,Patterns 688
Further Reading : The Tone of the Poem 692
WILLIAM WORDSWORTH, The World Is Too Much
with lls 692
SYLVIA PLATH,MorningSong 693
CLAUDEMCKAY, The White City 694
ROBERT HERRICK,To the Virgins,to Make Much of
Time 695
Irony 696
ROBERT BROWNING,Porphyria 's Lover 696
PERCYBYSSHESHELLEY,0ZYmandias 698
Further Reading: Irony 699
SHERMANALEXIE,Evolution 699
ANNESEXTON , Cinderella 700
SANDRAM. CASTILLO, CastroMoves into the Havana Hilton 704
AGHASHAHIDALI, The Wolfs Postscriptto "LittleRed Ridinp:
Hood" 706
DUDLEYRANDALL,Balladof Birmingham 708
WISLAWASZVMBORSKA, Hitler'sFirstPhotograph 709
LIST:Writing about Voice
./ CHECK 711
Writing Suggestions: Voice 711
PART
xviii 3 CoNTRNTJ;
Imagery 739
CloudPainter
JANEFLANDERS, 739
WILLIAMCARLOS WILLIAMS,Red Wheelbarrow 742
EZRAPOUND,In a Stationof the Metro 7 42
GARYSNYDER, Some Good Thingsto Be Saidfor the
IronAge 743
WILLIAMCARLOS WILLIAMS,The Great Figure 7 44
Further Reading: Imagery 745
DAVIDTRINIDAD,9773ComancheAve. 745
Jane Flanders
PART
•
C':ONTRNTS 3 XIX
FROST,Out, Out-
ROBERT 778
CULLEN,Incident
COUNTEE 779
ATWOOD,You fit into me
MARGARET 780
Metonymy and Synecdoche 781
RICHARDLOVELACE, To LucastaGoing to the Wars 781
Further Reading: Metonymy and Synecdoche 782
DYLANTHOMAS,The Hand That Signedthe Paper 782
Apostrophe 783
NANCYMERCADO, Goingto work 783
Further Reading: Apostrophe 784
JOHNKEATS,Ode to a Nightingale 784
ALLENGINSBERG, A Supemuirketin California 787
LIST:Writing about Figures of Speech
,/ CHECK 789
Writing Suggestions: Figures of Speech 789
Sound 791
WALTWHITMAN,Had I the Choice 791
Rhythm 792
BROOKS,Sadieand Maud
GWENDOLYN 792
Meter 793
EMILYDICKINSON, I like w see it lapthe Miles- 797
Further Reading: Rhythm and Meter 799
ADRIENNERICH,Aunt Jennifer's Tigers 799
THOMASLUX,A Little Tooth 800
EmilyDickinson
LEWISCARROLL, A Boat Beneatha Sunny Sky 800
Alliteration and Assonance 802
N. SCOTTMOMADAY, Comparatives 803
ROBERT HERRICK,Delightin Disorder 804
Rhyme 804
ROBERT FROST,The Road Not Taken 805
Further Reading: Alliteration, Assonance, and Rhyme 806
GERARD MANLEYHOPKINS,PiedBeauty 806
SHELSILVERSTEIN , Where the SidewalkEnds 808
JACOBSAENZ,Evolutionof My Block 808
LEWISCARROLL,Jabberwocky 810
LIST:Writin g about Sound
,/ CHECK 811
Writing Suggestions: Sound 812
PART
C':ONTRNTS 3 XXI
•
Form 813
JOHNKEATS,On the Sonnet 813
Closed Form 81 5
Blank Verse 816
Stanza 816
The Sonnet 81 7
EARE, When, in disgracewith Fortune
WILLIAM SHAKESP
and men's eyes 81 8
Further Reading : The Sonnet 81 9
Elizabeth Bishop
JOHNKEATS,On FirstLookinginto Chapman'sHomer 819
821
EDNAST. VINCENTMILLAY,l~nve i.~nnt all
LYNNAARTI CHANDHOK,The CarpetFactory 822
GWENDOLYN FirstFight.Then Fiddle 823
BROOKS,
RHINAESPAILLAT, "FindWork" 824
The Sestin a 82 5
ALVARORIOS,Nani
ALBERTO 825
Further Reading: The Sestina 82 6
ELIZABETH BISHOP,Sestina 826
PATRICIA SMITH,Ethel'sSestina 828
The Villanelle 830
THEODORE The Waking
ROETHKE, 830
, Wife's DisasterManual
DEBORAHPAREDEZ 831
The Epigram 832
Further Reading: The Epigram 832
SAMUELTAYLORCOLERIDGE, What Is an Epigram? 832
DOROTHY PARKER,News Item 832
CAROLANN DUFFY, Mrs. Darwin 832
MARTINESPADA,Why I Went to College 833
A. R.AMMONS, Both Ways 833
Haiku 834
Further Reading: Haiku 83 5
MATSUOBASHO,FourHaiku 835
JACKKEROUAC, AmericanHaiku 836
Open Form 83 7
CARLSANDBURG, Chicago 838
E. E.CUMMINGS,the sky was candy 840
Further Reading: Open Form 841
WALTWHITMAN,from Out of the CradleEndlesslyRocking 841
PART
xxii 3 CoNTRNTJ;
WI LLIAMS,Springand All
WILLIAM CARLOS 842
RICHARDBLANCO,MexicanAlmuerzo in New England 843
CLAIRELEE,Livingin Numbers 844
Concrete Poetry 845
MAYSWENSON,Women 846
Further Reading: Concrete Poetry 847
GEORGE Easter Wings
HERBERT, 847
Skeleton Key
JOHN HOLLANDER, 848
ii LIST:Writing about Form
CHECK 849
Writing Suggestions: Form 850
MAYSWENSON,Women ShouldBe Pedestals 850
ABOUTTHEAUTHOR913
POEMS 916
The Negro Speaks of Rivers 916
Dream Variations 91 6
The Weary Blues 917
I, Too 918
Songfor a Dark Girl 91 9
Balladof the Landlord 91 9
LangstonHughes
Theme for EnglishB 920
Dream Boogie 921
BirminghamSunday (September15, 1963) 922
Old Walt 923
Lenox Avenue: Midnight 924
Un,American Investigators 924
Dinner Guest: Me 92 5
Balladof BookerT. 925
READINGAND REACT
ING 928
SOURCES929
Background 92 9
LANGSTONHUGHESfrom The Negro Artist and the RacialMountain 929
LANGSTONHUGHESTo Negro Writers 931
LANGSTONHUGHESfrom My Adventures as a SocialPoet 932
Critical Perspectives 936
from The Originsof Poetryin LangstonHughes
ARNOLDRAMPERSAD, 936
FOUNDATION,from LangstonHughes 940
POETRY
RICKBROWN,BitterJazz in LangstonHughes's "Dream Boogie" 940
KARENJACKSONFORD,from Do Right to Write Right:LangstonHughes's
Aestheticsof Simplicity 945
GEORGE B. HUTCHINSON, from LangstonHughesand the "Other"
Whitman 948
from LangstonHughes+ Poetry= The Blues
YUSEFKOMUNYAKAA, 949
TOPICSFORFURTHER
RESEARCH 951
PART
C':ONTRNTS 3 XXV
PART
xxvi 3 CoNTRNTJ;
EDWINARLINGTONROBINSON,MiniverCheevy 1010
RichardCory
EDWINARLINGTONROBINSON, 1011
CYNTHIARYLANT,God Went to Beauty School 1011
E, Let me not to the marriageof true minds
WILLIAMSHAKESPEAR 1012
EARE,Not marble,nor the [<iui.ed
WILLIAMSHAKESP monuments 1012
PERCYBYSSHESHELLEY,Ode to the West Wind 1013
STEVIESMITH,Not Waving but Drowning 1015
WOLESOYINKA,Hamlet 1016
Anecdoteof theJar
WALLACESTEVENS, 1016
The Emperorof lce,Cream
WALLACESTEVENS, 1016
The Eagle
ALFRED,LORDTENNYSON, 1017
Ulysses
ALFRED,LORDTENNYSON, 1017
DYLANTHOMAS,FernHill 1019
KOUN,In the olddays a poet oncesaid 1 021
WEBB,The Death of Santa Claus
CHARLES 1 021
, On BeingBroughtfrom Africa to America
PHILLISWHEATLEY 1022
WALTWHITMAN,I Hear AmericaSinl{ing 1022
WALTWHITMAN,A NoiselessPatientSpider 1023
WALTWHITMAN, from Song of Myself
102 3
Composedupon WestminsterBridge,
WILLIAMWORDSWORTH,
September3, 1802 1024
TH,London, 1802
WILLIAM WORDSWOR 1025
My heartleapsup when I behold 1025
WILLIAMWORDSWORTH,
, The SolitaryReaper
WILLIAMWORDSWORTH 1026
WILLIAM BUTLERYEATS,An IrishAirman ForeseesHis Death 1027
WILLIAM BUTLERYEATS,The Lake Isle of Innisfree 1027
WILLIAM BUTLERYEATS,Sailingto Byzantium 1028
WILLIAM BUTLERYEATS,The SecondComing 1029
KEVINYOUNG,Song of Smoke 1029
PART4: 103'1
Understanding Drama 1032
Dramatic Literature 1 032
Origins of Modem Drama 103 2
The Ancient Greek Theater 1032
The Elizabeth.an Theater 1034
The Modem Theater 1 03 9
Tragedy and Comedy 1042
Tragedy 104 2
Comedy 1045
Anton Chekhov
Defining Drama 104 7
ANTONCHEKHOV, The Brute 1048
A Note on Translati ons 1058
Recognizing Kinds of Drama 1060
Harold Pinter
Plot 1098
Plot Structure 1 098
Plot and Subplot 1100
Plot Development 1100
Flashbacks 11 01
Foreshadowing 1101
Writing about Plot
./ CHECKLIST: 1101
DAVIDIVES,The Blizzard 11 02
WARRENLEIGHT,Nine Ten 1108
HENRIKIBSEN,A Doll House 1113
Warren Leight
Writing Suggestions: Plot 11 6.5
~:,.
: Character 1166
Characters' Words 1167
Formal and Informal Language 1168
Plain and Elaborate Language 11 69
Tone 1170
Irony 1171
Characters' Actions 11 72
Stage Directions 11 72 William Shakespeare
Actors' Interpretations 11 74
.I CHECKLIST:
Writing about Character 11 75
AND WINNIE HOLZMAN,Post~it.s 1176
PAULDOOLEY
DAVIDAUBURN,Proof 1180
ARTHURMILLER,Deathof a Salesman 1233
Hamlet
WILLIAM SHAKESPEARE, 1304
Writing Suggestions:Character 1404
Staging 1406
Stage Directions 1407
The Uses of Staging 1408
Costumes 1408
Props and Furnishings 1408
Scenery and Lighting 1409
Ml1sic and Sound Effects 1409
A Final Note 1 41 0
.I CHECKLIST:
Writing about Staging
1410
Sophocles
MICHAELSALOMON,The Date 1411
PART
xxx 4 CoNTRNTJ;
Theme 1473
Titles 1473
Conflicts 14 74
Dialogue 1475
Ch::ir::icters 147.5
Staging 1476
A Final Note 1477
./ CHECK LIST:Writing about Theme 1477
JENI MAHONEY,Come Rain or Come Shine 1477
AugustWilson
SOPHOCLES, Antigone 1484
JOHNPATRICKSHANLEY,Doubt:A Parabl.e 1516
AUGUSTWILSON,Fences 1548
Writing Suggestions:Theme 1600
ABOUTTHEAUTHOR 1602
Trifles 1604
PLAY: SUSANGLASPELL,
READINGAND REACTING 1615
SOURCES 1 61 6
Background 1 61 6
LINDA BEN-ZVI, from "Murder,She Wrote": The Genesis
of Susan Glaspell'sTrifles 1616
SUSANGLASPELL,Surroundedby Mystery: Murder of John
HossackWas Not for Money 1628 SusanGlaspell
PART
xxxii 4 CoNTRNTJ;
Credits C1
Glossary of Literary Terms G1
Index of First Lines of Poetry 11
Index of Authors and Titles 15
Index of Literary Terms 118
AUTHORS
REPRESENTEDBY
MULTIPLE ORKS
Sherman Ale xie This Is Wha t It Means to Say Phoenix, Arizona 278
Evolution 699
Defending Walt Whi tman 952
Edna St. Vincent Millay If I should learn, in some quite casual way 775
Love is not all 821
What lips my lips have kissed 999
Joyce Carol Oates Where Are You Going, Where Have You Been? 508
When Characters from the Page Are Made Flesh on the
Screen 518
Heat 603
In Alice Walker's short story "Everyday Use" (p. 426) , two sisters one rural and traditional,
one urban and modem-compete for possession of two quilts that have been in their fam-
ily for years. At the end of the story, the narrator's description of the quilts suggests their
significance - as a link between the old and the new, between what was and what is:
One was in the Lone Star pattern. The other was Walk Around the Mountain. In both of
them were scraps of dresses that Grandma Dee had worn fifty and more years ago. Bits and
pieces of Grandpa Jarrell's Paisley shirts. And one teeny faded blue piece, about the size of
a penny matchbox, that was from Great Grandpa Eza's uniform that he wore in the Civil
War. (431)
In a sense, Compact Literature:Reading,Reacting,Writing is a kind of literary quilt, one
that places nontraditional works alongside classics, integrates the familiar with the unfamil-
iar, and invites students to see well-known works in new contexts. To convey this message,
each edition of the book integrates imagery from a handmade quilt . The quilt designed for
this new edition uses contemporary as well as traditional quilting techniques to reflect our
own increased focus on contemporary and emerging writers as well as on writers from diverse
cultures and backgrounds.
The ninth editi on of Compact Literature:Reading, Reacting, Writing, like the previous
editions , is designed to demystify the study of literature and to prepare students to explore
the literary works collected here. Our goal in this edition remains what it has been from the
start: to expand students' personal literary boundaries. To this end, we have fine-tuned the
reading selections and expanded the pedagogical features that support the study of litera-
ture, acting in response to thoughtful comments from our reviewers and from our students.
Having class-tested this book in our own literature classrooms, we have learned what kinds
of selections and features best help our students to read, think about , understand, and write
about literature in ways th .at make it meaningful to their lives in the twenty-first century.
To help instructors engage their students with literature and guide them in becoming
better thinkers and writers, we have added new readings and enhanced key elements that
have made CompactLiterature:Reading,Reacting,Writinga classro om Sl1ccess.
• •
-.
• • Unparalleled Writing Coverage
The first college literature anthology to address writing as a major component of the intro-
ductory literature course, CompactLiterature:Reading,Reacting,Writingbegins with a com-
prehensive writing guide. Part 1, "A Guide to Writing about Literature," consists of eight
chapters that help students see writing about literature as a process of discovering , testing,
•
XXX IX
xi PRRFAC.F.
and arguing about ideas. In addition, comprehensive writing coverage is integrated through-
out the book in the following features:
• A general introductionto the writing processChapter 2, "Reading and Writing
about Literature," explains and illustrates the process of planning, drafting, and
revising essays about literary works, concluding with an exercise asking students to
evaluate and compare two student essays that examine the same three short stories.
• Specialtreatment for writing about each genre"Reading and Writing about Fiction"
(Chapter 12), "Reading and Writing about Poetry" (Chapter 23), and "Reading and
Writing about Drama" (Chapter 36) follow the writing process of students as they
focus on works in each genre: Alberto Alvaro Rfos'sshort story "The Secret Lion"
(p. 180); Seamus Heaney's poem "Digging" (p. 663) and Robert Hayden's poem
"Those Winter Sundays" (p. 662); and Susan Glaspell's one-act play Trifles(p. 1604).
• Two chapterson literary argument Chapter 4, "Thinking Critically about Your
Writing," and Chapter 5, "Writing Literary Arguments," help students to think
critically about their writing and build convincing and insightful arguments
about literary works. Chapter 5 takes students through the process of writing a
literary argument and concludes with two annotated student essays.
• Extensiveresearchand documentationcoverageTracing the research process
of a student writing a short essay on Eudora Welty's "A Worn Path" (p. 463),
Chapter 6, "Using Sources in Your Writing," includes extensive advice for con-
ducting research both online and in print. Chapter 7, "Documenting Sources and
Avoiding Plagiarism," includes strategies for avoiding plagiarism. Chapter 7 also
includes the updated documentation guidelines put forth in the eighth edition of
the Ml.A Handbook (2016). The style has been simplified to emphasize a common
approach to a wide variety of source types, and the updated chapter introduces the
new approach while continuing to offer numerous citation examples for students.
• Thirteen complete model student essaysBecause our own experience in the
classroom has shown us that students often learn most easily from models, the
text includes thirteen model student essays written in response to the kinds of
topics that are frequently assigned in Introduction to Literature classes. Some
of these model essays are source-based, and three are shown in multiple drafts
along with annotations and commentary. In addition, an annotated sample
student answer to an essay exam question appears in Chapter 8, "Writing Essay
Exams about Literature."
• Casebooksfor reading, research,and writing Three casebooks-on Joyce
Carol Oates, Langston Hughes, and Susan Glaspell-feature seminal works by
each writer accompanied by literary criticism, biographical essays, and other
useful and interesting materials (song lyrics, photographs, newspaper articles,
and so on), including visuals that enhance each work's appeal. Each casebook
also includes discussion questions as well as writing prompts for essays that
use sources. Students can use these casebooks to supplement their reading or
as source material for a research project. By gathering research materials in a
convenient, accessible format, these casebooks offer students a controlled, self-
contained introduction to source-based writing as well as all the materials they
need to begin a research project.
PRRFAC:E xii
Film • Integrated Fiction in Film coverage "Fiction in Film" sections throughout Part 2
Series
help students to understand the challenges of adapting fiction to film. Accompa -
nying five short stories in the text , this integrated material includes still photos
DVD taken from DVDs of the following stories: John Updike's "A&P" (p. 238), Tillie
Olsen's "I Stand Here Ironing" (p. 299), Alice Walker's "Everyday Use" (p. 426),
Raymond Carver's "Cathedral" (p. 435), and Eudora Welty's "A Worn Path" (p.
463). The photos are followed by a series of questions that ask students to think
critically about the decisions they would make if they were adapting each of
the stories into a short film. (A marginal icon highlights each "F iction in Film"
section. )
• Authors represented by multiple works Many authors are represented in the
book by more than one work-and, in some cases, by more than one literary
genre. A list of all such works follows the book's table of contents, giving stu-
dents an opportunity to see at a glance how a particular writer explores different
themes, styles, and genres.
• •
-. •• Thorough Background Information
As we have learned in our classrooms over the years, part of helping students to demystify
literature is helping them to understand the context in which the stories, poems, and plays
were written. To achieve this goal, we continue to include contextual and background mate-
rials throughout the book in various forms:
• Cultural context notesA cultural context section fol lows each author headnote
in the fiction and drama sections, providing vital background about the social
and historical climate in which the work was written.
• Accessiblediscussionof literary history"Origins of Modern Fiction" in Chapter 9,
"Understanding Fiction"; "Origins of Modern Poetry" in Chapter 22, "Under -
standing Poetry"; and "Origins of Modern Drama" in Chapter 34, "Understand -
ing Drama," are fully illustrated with visuals that trace each genre's development
and bring the history of literature to life.
• •
-• • . Other Pedagogical Features
A number of other pedagogical features appear throughout the text to prompt students to
think critically about reading and to stimulate class discussions and energetic, thoughtful
writing:
• Introductory overview Chapter 1, "Understanding Literature," presents an over-
view of some of the most important issues surrounding the study of literature,
acquainting students with traditional literary themes as well as with the concept
of the literary canon. The chapter also lays the groundwork for students' inde -
pendent exploration of literary texts by discussing the processes of interpreting
and evaluating literature, placing special emphasis on how readers' personal
experiences affect meaning. Finally, the chapter examines the role of literary
criticism and considers how critics' interpretations can help students expand
their Iiterary horizons.
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nähdä valon, yksi kallio, jonka päällä meidän jalkamme voivat saada
tuen syvyydessäkin; ja se on se usko, vaistomainen, myötäsyntynyt,
joka ei riipu järkisyistä eikä opista, että nuo aallot ovat Jumalan
lähettämät; ja että vaikka me tuonelaan alas laskeutuisimme, on Hän
sielläkin; se usko, että Hän kasvattaa meitä, vaan emme me itse; ja
että nämä toisistaan riippumattomilta näyttävät surkeudet, myrsky
maanjäristyksen jälkeen ja maanjäristys tulen jälkeen, niinkuin
kaikkien pahojen henkien vehkeet olisivat lasketut irralle meitä
vastaan, Hänen ajatuksissaan ovat yhtenä hengellisenä jaksona,
elimellisenä kokonaisuutena, jolla on tarkoitus, vaikk'emme sitä näe;
sen uskon kautta näemme, että nämä surut eivät tule kukin erikseen,
ainoasti siksi että Hän tahtoo tehdä työn meidän henkemme hyväksi
lyhemmäksi, vaan siksi että kuta suuremman vaikutuksen Hän
näkee toisella iskulla olevan, sitä pikemmin antaa Hän toisen
seurata, kunnes suuressa ja monivaiheisessa käännekohdassa, joka
meistä näyttää pitkälle, vaan joka on lyhyt kuolemattomuuteen
verrattuna, meidän henkemme voipi tulla: »Tulipunaseksi palaen
tuskasta, kylpien halveksimisen kyynelissä, ja tuomion vasaran
lyömäksi, että se muodostuisi ja kuluisi.»
Ei ole sen mustempaa kiusausta kuin se, joka tulee ihmisen eteen,
kun perkele kuiskaa hänelle tämmöisiä ajatuksia: »Jumala ei
minusta välitä — Jumala vihaa minua. Onni ja kaikki muu on minua
vastaan. Jonkinlainen kirous näyttää riippuvan minun päälläni. Miksi
minun pitäisi muuttua? Tulkoon Jumala ensin toisellaiseksi minua
vastaan, niin tulen minäkin toisellaiseksi Häntä kohtaan. Mutta
Jumala ei tahdo tulla toisellaiseksi; Hän on päättänyt ettei osoita
vanhurskautta minulle. Minä voin nähdä sen; sillä kaikessa käypi
mulle huonosti. Mitäpä silloin auttaa katua? Minä tahdon kulkea omia
teitäni — ja tulkoon mitä tulee. — Onko sulla koskaan ollut
semmoisia ajatuksia? Silloin kuule Herran sana sinulle: »Kun
jumalaton kääntyy kaikista synneistään, joita hän on tehnyt, ja tekee
oikeuden ja vanhurskauden, niin hän saa totisesti elää. Luuletko
minulla olevan iloa jumalattoman kuolemasta, sanoo Herra, Herra,
eikö paljoa enempi, että hän palajaa teistään ja saapi elää?» Hes.
18:21—23. Elä koskaan usko perkelettä, kun hän sanoo Jumalan
sinua vihaavan. Elä usko häntä koskaan, kun hän sanoo sinulle
Jumalan olleen liika kovan sinua vastaan ja asettaneen sinut
semmoisiin olosuhteisiin kiusausten, tietämättömyyden, köyhyyden
tai jonkin muun kuorman alaiseksi, niin ettet sinä voi tulla
paremmaksi. Mitä sanoo sinun kasteesi lupaus? »Joskin olet köyhä,
kiusattu, tietämätön, tyhmä, olepa mikä tahansa, niin sinä olet
Jumalan lapsi — sinun Isäsi rakkaus kannattaa sinua, Hänen
armonsa on alttiina sinulle.» Sinä tunnut heikolta parantueksesi.
Rukoile Jumalan Henkeä antamaan sinulle tahdon voimaa, jota et
koskaan ennen ole tuntenut. Sinä tunnut liika ylpeältä muuttuaksesi.
Rukoile Jumalan Henkeä nöyryyttämään ylpeää sydäntäsi,
pehmittämään kovaa sydäntäsi; ja sinä saat ihmeeksesi nähdä että
kun ylpeytesi on hävinnyt, kun olet sisällisesti häpeissäsi itsesi
tähden ja näet syntisi niitten oikeassa mustassa valossa ja tunnet
itsesi arvottomaksi katsomaan Jumalaan ylös, silloin tulee sijaan
jalompi, pyhempi ja miehuullisempi tunne — oman kunnioituksen
tunto ja puhdas omatunto ja se ajatus, että heikkona ja huononakin
olet sinä oikealla tiellä; että Jumala ja Hänen enkelinsä hymyilevät
sinulle; että sinä jälleen olet sopusoinnussa maan ja taivaan kanssa,
sillä sinä olet se, joksi Jumala sinua tahtoo. Et ole Hänen ylpeä,
vaikeroiva, itsepäinen lapsensa, joka kuvailet olevasi kyllin väkevä
kulkemaan yksin, kun sinä todellisuudessa olet omain himojesi,
halujesi orja ja perkeleen leikkikalu; vaan sinä olet Hänen rakastava,
harras lapsensa Jumalan voiman kautta ja kykenet tekemään mitä
tahdot, sillä mitä sinä tahdot, sitä tahtoo Jumalakin.
National Sermons.
Sermons on David.
Minä voin ainoasti huutaa: »Oi Herra, Sinuun olen minä luottanut,
elä salli minun koskaan joutua häpeään. Miksi kelvoton sanoisi:
missä on nyt hänen Jumalansa?» Mutta silloin kun minä olen enin
rauhaton, sanoo sisällinen ääni minulle: »Mitä se haittaa, jos sinä
joudut häpeään? Jumala ei joudu. Usko vain lujasti ja luottavasti,
että Jumala on niin hyvä, kuin sinä rajoitetulla ymmärrykselläsi voit
käsittää, ja Hän kyllä viimeinkin antaa sinun ymmärtää kuinka hyvä
Hän on, ja sinä saat täydellisen siunauksen siitä, että näet
Jumalan.» Sinä ehkä sanot että minä puhun vastakkaista. Niin minä
teenkin; ja niin tekevät Davidin psalmitkin, jos ne rehellisesti luetaan.
Kuitenkin juuri tämä vastakkaisuus tekee ne aina mahdollisiksi
tunkeutumaan ihmissydämiin. Ne ovat ihmisen sanoja, joka on
todellisessa epäilyksessä ja todellisessa pimeydessä, joka huutaa
valoa ja joka ei huuda turhaan, niinkuin en minäkään luule turhaan
huutavani.
‒ ‒ Minä vain tiedän, etten minä mitään tiedä, vaan toivon että
Kristus, joka on Ihmisen Poika, opettaa minulle vähä kerrassaan, jos
olen kärsivällinen ja valveillani, mitä minä olen ja mitä ihminen on.
National Sermons.
Westminster Sermons.
KUOLEMAN SYVYYDESTÄ.
National Sermons.
National Sermons.
Miksi kuoli Hän? kysymme me. Jokaisen ihmisenkin kuolemalla
pitänee olla erityinen syy, tarkoitus, muutenhan se olisi kauhea
tapaus — outo asia ilman ajatusta — luuranko ilman sielua. Miksi
kuoli Hän? »Minä vaikenen enkä avaa suutani; kyllä Sinä sen teet.»
Ps. 39:10. Näin sanoo hautauspsalmi. Sanokaamme me sitä samaa.
»Minä vaikenen»: en raivosta enkä epätoivosta, mutta siksi että Sinä
puhut, ja silloin on se hyvin tehty. Se ei ollut mikään satunnainen tai
välttämätön teko. Sillä se oli Isän työ, eikä ilman Häntä yksikään
varpunen putoa maahan; Pojan työ oli se myös, joka kuoli ristillä,
siksi että Hän viimeiseen asti halusi pelastaa ihmiskunnan; se oli
Pyhän Hengen työ, joka on kaiken luodun Herra ja Elonantaja. Se oli
Hänen työnsä, jolla on halu elämään eikä kuolemaan, iloon eikä
suruun, valkeuteen eikä pimeyteen, järjestykseen eikä
epäjärjestykseen, hyvään eikä pahaan. Sillä oli määrätty syy, ajatus,
tarkotus; ja se tarkotus on hyvin hyvä. Mikä se on, emme tiedä;
emmekä tarvitse sitä tietää. Arvailla sitä olisi todellakin sekautumista
asioihin, jotka ovat meille liika korkeita. Sentähden olkaamme ääneti.
Elkäämme olko ääneti epäilyksestä, vaan uskosta; ei ääneti niinkuin
heittiö, joka on väsynyt apua huutamasta, mitä hän ei saa, vaan
ääneti kuin lapsi, joka istuu äitinsä helmoissa ja katsoo ylös hänen
kasvoihinsa ja tarkastaa hänen liikkeitään, joka ei ymmärrä vielä
mitään niistä, vaan on varma siitä että kaikki on tehty rakkaudessa.
Westminster Sermons.
National Sermons.
National Sermons
Village Sermons.
National Sermons.