The Norton introduction to literature

"The most trusted guide for helping students read critically and write carefully. The Norton Introduction to Literature presents an engaging, balanced selection of literature to suit any course. Offering a thorough treatment of historical and critical context, the most comprehensive media packa...

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Weitere Verfasser:	Mays, Kelly J. (HerausgeberIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	New York ; London W. W. Norton & Company [2016]
Ausgabe:	Twelfth edition
Schlagworte:	Literatur Literature > Collections Englisch Literaturwissenschaft Einführung Anthologie
Online-Zugang:	Inhaltsverzeichnis
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245	1	0	\|a The Norton introduction to literature \|c Kelly J. Mays, University of Las Vegas, Nevada
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Datensatz im Suchindex

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adam_text	Contents Preface for Instructors xxvii Introduction 1 What Is Literature? 1 What Does Literature Do? 3 JOHN KEATS, On First Looking into Chapmans Homer 4 What Are the Genres of Literature? 4 Why Read Literature? 6 Why Study Literature? 8 FICTION: READING, RESPONDING, WRITING 12 ANONYMOUS, The Elephant in the Village of the Blind 13 READING AND RESPONDING TO FICTION 16 LINDA BREWER, 20/20 16 SAMPLE WRITING: Annotation and Notes on “20/20” 17 MARJANE SATRAPI, The Shahhat (from Persepolis) 20 WRITING ABOUT FICTION 31 RAYMOND CARVER, Cathedral 32 SAMPLE WRITING: WESLEY RUPTON, Notes on Raymond Carvers “Cathedral” 43 SAMPLE WRITING: WESLEY RUPTON, Response Paper on Raymond Carver’s “Cathedral” 46 SAMPLE WRITING: BETHANY QUALLS, A Narrator’s Blindness in Raymond Carvers “Cathedral” 49 ; A ; * jA:. • at: 53 SHERMAN ALEXIE, Flight Patterns 54 GRACE PALEY, A Conversation with My Father 67 AUTHORS ON THEIR WORK: Grace Paley 72 TIM O BRi EN, The Lives of the Dead 72 vi CONTENTS UNDERSTANDING THE TEXT 85 PLOT 85 JACOB AND WILHELM GRIMM, The Shroud 87 JAMES BALDWIN, Sonny’s Blues 93 EDITH WHARTON, Roman Fever 115 JOYCE CAROL OATES, Where Are You Going, Where Have You Been? 125 AUTHORS ON THEIR WORK: Joyce Carol Oates 137 SAMPLE WRITING: ANN WARREN, The Tragic Plot of “A Rose for Emily 1 139 i ,1A i K t i • •::: C:; f ‘ ‘ . ..... 145 TONI CADE BAM BARA, The Lesson 146 AUTHORS ON THEIR WORK: Toni Cade Bambara 152 ALICE MUNRO, Boys and Girls 152 JOHN UPDIKE, A ■ P 163 AUTHORS ON THEIR WORK: John Updike 168 NARRATION AND POINT OF VIEW 169 EDGAR ALLAN POE, The Cask of Amontillado 173 JAMAICA KINCAID, Girl 179 GEORGE SAUNDERS, Puppy 181 AUTHORS ON THEIR WORK: George Saunders 187 CHARACTER 189 WILLIAM FAULKNER, Barn Burning 196 TONI MORRISON, Recitatif 209 AUTHORS ON THEIR WORK: Toni Morrison 223 DAVID FOSTER WALLACE, Good People 224 ALICE NUTTING, Model’s Assistant 230 r ! . ,V:: h , 239 MARGARET ATWOOD, Lusus Naturae 240 KAREN RUSSELL, St. Lucy s Home for Girls Raised by Wolves 245 JORGE LUIS BORGES, The House of Asterion 257 AUTHORS ON THEIR WORK: Jorge Luis Borges 260 SETTING 262 ITALO CALVINO, from Invisible Cities 264 MARGARET MITCHELL, from Gone with the Wind 264 ALICE RANDALL, from Wind Done Gone 266 CONTENTS AiNTON CHEKHOV, The Lady with the Dog 268 AMY TAN, A Pair of Tickets 280 JUDITH ORTIZ COFER, Volar 294 SAMPLE WRITING: STEVEN MATVIEW, How Setting Reflects Emotions in Anton Chekhov’s “The Lady with the Dog 297 i ? A • : /.;.■! -i303 william GIBSON, The Gernshack Continuum 304 AUTHORS ON THEIR WORK: William Gibson 313 RAY BRADBURY, The Veldt 314 AUTHORS ON THEIR WORK: Ray Bradbury 325 ZADIE SMITH, Meet the President! 326 JENNIFER EGAN, Black Box 335 AUTHORS ON THEIR WORK: Jennifer Egan 358 SYMBOL AND FIGURATIVE LANGUAGE 360 NATHANIEL HAWTHORNE, The Birth-Mark 365 A. S. BYATT, The Thing in the Forest 377 EDWIDGE DANTICAT, A Wall of Fire Rising 392 SAMPLE WRITING: CHARLES COLLINS, Symbolism in “The Birth-Mark” and The Thing in the Forest” 405 THEME 409 AESOP, The Two Crabs 409 STEPHEN CRANE, The Open Boat 413 GABRIEL GARCIA MÁRQUEZ, A Very Old Man with Enormous Wings: A Tale for Children 431 YASUNARI kawabata, The Grasshopper and the Bell Cricket 436 JUNOT DIAZ, Wildwood 439 ■ •• 1;;. :-f 4 .* . v M “S. If Í \|V; f .11 l \| Á - * ^ -LLi 457 BHARATI mUKI-iERJEE, The Management of Grief 458 AUTHORS ON THEIR WORK: Bharati Mukherjee 471 JHUMPA LAHIRI, Interpreter of Maladies 472 AUTHORS ON THEIR WORK: Jhumpa Lahiri 487 DAVID SEDARIS, Jesus Shaves 488 THE LONGER WORK 493 HERMAN MELVILLE, Bartleby, the Scrivener: A Story of Wall Street 496 FRANZ KAFKA, The Metamorphosis 522 viii CONTENTS EXPLORING CONTEXTS 558 THE AUTHOR’S WORK AS CONTEXT: FLANNERY O’CONNOR 558 THREE STORIES BY FLANNERY O’CONNOR 561 A Good Man Is Hard to Find 561 Good Country People 572 Everything That Rises Must Converge 586 PASSAGES FROM FLANNERY O’CONNOR S ESSAYS AND LETTERS 597 CRITICAL EXCERPTS 601 MARY GORDON, from Flannery s Kiss 601 ann E. REUMAN, from Revolting Fictions: Flannery O’Connor s Letter to Her Mother 604 EILEEN POLLACK, from Flannery O’Connor and the New Criticism 607 THE AUTHOR’S WORK AS CONTEXT: JAMES JOYCE’S DUBLINERS 610 THREE STORIES BY JAMES JOYCE 614 Araby 614 Eveline 619 The Dead 623 PASSAGES FROM JAMES JOYCE’S EARLY WRITINGS 656 CRITICAL EXCERPT 661 PATRICK A. MCCARTHY, from Rejoycing: New Readings of Dubliners 661 CULTURAL AND HISTORICAL CONTEXTS: WOMEN IN TURN-OF-THE-CENTURY AMERICA 666 KATE CHOPIN, The Story of an Hour 670 CHARLOTTE PERKINS GILMAN, The Yellow Wallpaper 673 SUSAN GLASPELL, A Jury of Her Peers 684 CONTEXTUAL EXCERPTS 701 CHARLOTTE PERKINS GILMAN, from Similar Cases 701 from Women and Economics 702 BARBARA BOYD, from Heart and Home Talks: Politics and Milk 703 MRS. ARTHUR LYTTELTON, from Women and Their Work 703 rheta CHILDE DORR, from What Eight Alillion Women Want 704 THE NEW YORK TIMES, from Mrs. Delong Acquitted 705 THE WASHINGTON POST, from The Chances of Divorce 705 CONTENTS CHARLOTTE PERKINS GILMAN, from Why I Wrote “The Yellow Wall-paper” 706 THE WASHINGTON POST, The Rest Cure 706 from Egotism of the Rest Cure 706 CRITICAL CONTEXTS: TIM O’BRIEN’S “THE THINGS THEY CARRIED” 709 TIM O BRIEN, The Things They Carried 711 CRITICAL EXCERPTS 724 STEVEN KAPLAN, The Undying Uncertainty of the Narrator in Tim O Briens The Things They Carried 724 LORRIE N. SMITH, “The Things Aden Do”: The Gendered Subtext in Tim O’Brien s Esquire Stories 729 SUSAN FARRELL, Tim O Brien and Gender: A Defense of The Things They Carried 739 READING MORE FICTION 746 MARGARET ATWOOD, Happy Endings 746 AMBROSE BIERCE, An Occurrence at Owl Creek Bridge 749 RALPH ELLISON, King of the Bingo Game 755 LOUISE ERDRiCH, Love Medicine 762 william Faulkner, A Rose for Emily 778 ERNEST HEMINGWAY, Hills Like White Elephants 784 FRANZ KAFKA, A Hunger Artist 788 D. H. LAWRENCE, The Rocking-Horse Winner 795 URSULA K, LE GUIN, The Ones Who Walk Away from Ornelas 806 BOBBIE ANN MASON, Shiloh 811 GUY DE MAUPASSANT, The Jewelry 821 TILLIE OLSEN, l Stand Here Ironing 827 AMY PROULX, Job History 833 EUDORA WELTY, Why I Live at the P.O. 838 POETRY: READING, RESPONDING, WRITING 850 DEFINING POETRY 851 LYDIA DAVIS, Head, Heart 852 AUTHORS ON THEIR CRAFT: Billy Collins 853 POETIC SUBGENRES AND KINDS 854 CONTENTS EDWIN ARLINGTON ROBINSON, Richard. Cory 855 THOMAS HARDY, The Ruined Maid 856 WILLIAM WORDSWORTH, [I wandered lonely as a cloud] 857 FRANK O HARA, Poem [Lana Turner has collapsed] 858 PHILLIS WHEATLEY, On Being Brought from Africa to America 859 EMILY DICKINSON, [The Sky is low—the Clouds are mean] 860 BILLY COLLINS, Divorce 860 BRUCE SPRINGSTEEN, Nebraska 86] ROBERT HAYDEN, A Letter from Phillis Wheatley 862 RESPONDING TO POETRY 864 aphra BEHN, On Her Loving Two Equally 864 WRITING ABOUT POETRY 871 SAMPLE WRITING: Names in “On Her Loving Two Equally 872 SAMPLE WRITING: Multi-plying by Dividing in Aphra Behn’s On Her Loving Two Equally” 874 Tiiii ACT • V vi • ■} S OTTKV: ArT Al.iCJiA 879 EMILY DICKINSON, [I dwell in Possibility—] 879 ARCHIBALD MACLEISH, Ars Poética 880 CZESLAW MILOSZ, Ars Poética? 881 AUTHORS ON THEIR WORK: Czeslaw Milosz 882 ELIZABETH ALEXANDER, Ars Poética #100: I Believe 882 MARIANNE MOORE, Poetry 883 JULIA ALVAREZ, Poetry Makes Nothing Happen ? 884 BILLY COLLINS, Introduction to Poetry 885 UNDERSTANDING THE TEXT 887 ¿ SPEAKER: WHOSE VOICE DO WE HEAR? 887 NARRATIVE POEMS AND THEIR SPEAKERS 887 X. J. KENNEDY, In a Prominent Bar in Secaucus One Day 887 SPEAKERS IN THE DRAMATIC MONOLOGUE 889 ROBERT browning, Soliloquy of the Spanish Cloister 889 THE LYRIC AND ITS SPEAKER 891 MARGARET ATWOOD, Death of a Young Son by Drowning 892 AUTHORS ON THEIR CRAFT: Billy Collins and Sharon Olds 893 WILLIAM WORDSWORTH, She Dwelt among the Untrodden Ways 894 DOROTHY PARKER, A Certain Lady 894 CONTENTS xi POEMS FOR FURTHER STUDY 895 WALT WHITMAN, [I celebrate myself, and sing myself] 895 LANGSTON HUGHES, Ballad of the Landlord 896 E. E. CUMMINGS, [next to of course god america i] 897 GWENDOLYN BROOKS, We Real Cool 897 AUTHORS ON THEIR WORK: Gwendolyn Brooks 898 LUCILLE CLIFTON, creflm o/wiiefli 898 i.AriLHtiiH i AW 901 RICHARD LOVELACE, Song: To Lucasta, Going to the Wars 902 MARY, LADY CHUDLEIGH, To the Ladies 902 WILFRED OWEN, Disabled 903 ELIZABETH BISHOP, Exchanging Hats 904 DAVID WAGONER, My Father’s Garden 905 JUDITH ORTIZ COFER, The Changeling 906 MARIE HOWE, Practicing 907 AUTHORS ON THEIR WORK: Marie Howe 908 TERRANCE HAYES, Mr. T— 909 BOB HICOK, O my pa-pa 910 STACEY WAITE, The Kind of Man I Am at the DMV 911 SITUATION AND SETTING: WHAT HAPPENS? WHERE? WHEN? 913 SITUATION 914 RITA DOVE, Daystar 914 LINDA PASTAN, To a Daughter Leaving Home 914 THE CARPE DIEM POEM 915 JOHN DONNE, The Flea 916 Andrew MARVELL, To His Coy Mistress 916 SETTING 918 MATTHEW ARNOLD, Dover Beach 918 THE OCCASIONAL POEM 919 MARTIN ESPADA, Litany at the Tomb of Frederick Douglass 920 AUTHORS ON THEIR WORK: Martin Espada 921 THEAUBADE 921 JOHN DONNE, The Good-Morrow 922 JONATHAN SWIFT, A Description of the Morning 922 ONE POEM, MULTIPLE SITUATIONS AND SETTINGS 923 LI-YOUNG LEE, Persimmons 923 JAMES DICKEY, Cherrylog Road 926 xii CONTENTS POEMS FOR FURTHER STUDY 929 NATASHA TRETHEWEY, Pilgrimage 929 KELLY CHERRY, Alzheimer’s 930 MAHMOUD DARWISH, Identity Card 931 YEHUDA AMICHAI, [On Yom Kippur in 1967 . . .] 933 YUSEF KOMUNYAKAA, Tu Do Street 934 AUTHORS ON THEIR WORK: Yusef Komunyakaa 935 ¡Ksjvli f.AMiiS: AN Ai.iiUM 939 MAYA ANGELOU, Africa 939 AUTHORS ON THEIR WORK: Maya Angelou 940 DEREK WALCOTT, A Far Cry from Africa 940 AUTHORS ON THEIR WORK: Derek Walcott 942 JUDITH ORTIZ COFER, The Latin Deli: An Ars Poetica 943 CATHY SONG, Heaven 944 AG HA SHAHID ALI, Postcard from Kashmir 945 ADRIENNE SU, Escape from the Old Country 946 In THEME AND TONE 948 TONE 948 W. D. SNODGRASS, Leaving the Motel 949 THEME 950 MAXINE KUMIN, Woodchucks 950 ADRIENNE RICH, Aunt Jennifer s Tigers 951 AUTHORS ON THEIR WORK: Adrienne Rich 952 THEME AND CONFLICT 953 ADRIENNE SU, On Writing 954 AUTHORS ON THEIR WORK: Adrienne Su 955 POEMS FOR FURTHER STUDY 955 WILLIAM BLAKE, London 955 PAUL LAURENCE DUNBAR, Sympathy 956 W. H. AUDEN, [Stop all the clocks, cut off the telephone] 956 SHARON OLDS, Last Night 957 KAY RYAN, Repulsive Theory 958 TERRANCE HAYES, Carp Poem 959 C. K. WILLIAMS, The Economy Rescued by My Mother Returning to Shop 960 SAMPLE WRITING: STEPHEN BORDLAND, Response Paper on W. H. Auden’s “Stop all the clocks, cut off the telephone 963 CONTENTS xiii TAM SLY; AM ALBUM 967 SIMON j. ORTIZ, My Father’s Song 967 ROBERT HAYDEN, Those Winter Sundays 968 ELLEN BRYANT VOIGT, My Mother 968 MARTIN ESPADA, Of the Threads That Connect the Stars 970 EMILY GROSHOLZ, Eden 970 PHILIP LARKIN, This Be the Verse 971 AUTHORS ON THEIR WORK: Philip Larkin 972 JIMMY SANTIAGO BACA, Green Chile 972 PAUL MARTINEZ POMPA, The Ahuelita Poem 973 CHARLIE SMITH, The Business 974 ANDREW HUDGINS, Begotten 975 S LANGUAGE: WORD CHOICE AND ORDER 976 PRECISION AND AMBIGUITY 976 SARAH CLEGHORN, [The golf links lie so near the mill] 976 MARTHA COLLINS, Lies 977 DENOTATION AND CONNOTATION 977 WALTER DE la MARE, Slim Cunning Hands 978 THEODORE ROETHKE, My Papa’s Waltz 979 WORD ORDER AND PLACEMENT 979 SHARON OLDS, Sex without Love 981 AUTHORS ON THEIR WORK: Sharon Olds 982 POEMS FOR FURTHER STUDY 982 GERARD MANLEY HOPKINS, Pied Beauty 982 william CARLOS WILLIAMS, The Red Wheelbarrow 983 This Is Just to Say 983 AUTHORS ON THEIR WORK: William Carlos Williams 984 KAY RYAN, Blandeur 985 MARTHA COLLINS, [white paper #24] 985 A. E. STALLINGS, Shoulda, Woulda, Coulda 986 VISUAL IMAGERY AND FIGURES OF SPEECH 988 RICHARD WILBUR, The Beautiful Changes 989 LYNN POWELL, Kind of Blue 990 METAPHOR 991 WILLIAM SHAKESPEARE, [That time of year thou mayst in me behold] 991 LINDA PASTAN, Marks 992 CONTENTS PERSONIFICATION 992 EMILY DICKINSON, [Because I could not stop for Death—] 993 SIMILE AND ANALOGY 993 ROBERT BURNS, A Red, Red Rose 994 TODD BOSS, My Love for You Is So Embarrassingly 994 ALLUSION 995 AMIT MAJMUDAR, Dothead 996 PATRICIA LOCKWOOD, What Is the Zoo for What 996 POEMS FOR FURTHER STUDY 998 WILLIAM SHAKESPEARE, [Shall I compare thee to a summer’s day?] 998 ANONYMOUS, The Twenty-Third Psalm 999 JOHN DONNE, [Batter my heart, three-personed God] 999 RANDALL Jarrell, The Death of the Ball Turret Gunner 1000 JOHN BREHM, Sea of Faith 1000 ¿¿L -TOri; !.-,, •• . ; -P ‘ :/ V ■ j,J ; r:i ., ■ ,4,; /.; ’ 1003 CHRISTOPHER MARLOWE, The Passionate Shepherd to His Love 1004 SIR WALTER RALEIGH, The Nymph s Reply to the Shepherd 1005 RICHARD WILBUR, Love Calls Us to the Things of This World 1006 SHERMAN alexie, Grief Calls Us to the Things of This World 1007 ANTHONY HECHT, Dover Bitch 1008 ANNIE FINCH, Coy Mistress 1009 ANNE LAUINGER, Marvell Noir 1009 KIM ADDONIZIO, First Line Is the Deepest 1010 ANNE SEXTON, Cinderella 1012 AGHA shahid ALI, The Wolf’s Postscript to “Little Red Riding Hood 1015 U. A. FANTHORPE, from Not My Best Side 1016 SYMBOL 1018 THE INVENTED SYMBOL 1018 JAMES DICKEY, The Leap 1019 THE TRADITIONAL SYMBOL 1021 EDMUND WALLER, Song 1021 DOROTHY PARKER, One Perfect Rose 1022 THE SYMBOLIC POEM 1023 WILLIAM BLAKE, The Sick Rose 1023 CONTENTS xv POEMS FOR FURTHER STUDY 1024 JOHN KEATS, Ode to a Nightingale 1024 ROBERT FROST, The Road Not Taken 1026 HOWARD NEMEROV, The Vacuum 1027 ADRIENNE RICH, Diving into the Wreck 1028 ROO BORSON, After a Death 1030 BRIAN TURNER, Jundee Ameriki 1030 AUTHORS ON THEIR WORK: Brian Turner 1031 SHARON OLDS, Bruise Ghazal 1032 THE SOUNDS OF POETRY 1033 RHYME 1033 ONOMATOPOEIA, ALLITERATION, ASSONANCE, AND CONSONANCE 1035 ALEXANDER POPE, from The Rape of the Lock 1036 SOUND POEMS 1036 HELEN CHASIN, The Word Plum 1037 KENNETH FEARING, Dirge 1037 ALEXANDER POPE, Sound and Sense 1038 POETIC METER 1041 SAMUEL TAYLOR COLERIDGE, Metrical Feet 1043 ANONYMOUS, [There was a young girl from St. Paul] 1045 ALFRED, LORD TENNYSON, from The Charge of the Light Brigade 1045 JANE TAYLOR, The Star 1046 ANNE BRADSTREET, To My Dear and Loving Husband 1047 JESSIE POPE, The Call 1047 WILFRED OWEN, Dulce et Decorum Est 1048 POEMS FOR FURTHER STUDY 1049 WILLIAM SHAKESPEARE, [Like as the waves m.ake towards the pebbled shore] 1049 GERARD MANLEY HOPKINS, Spring and Fall 1050 WALT WHITMAN, Beat! Beat! Drums! 1050 KEVIN YOUNG, Ode to Pork 1051 PAUL CELAN, Deathfugue 1052 THE TRANSLATOR ON HIS WORK: John Felstiner 1054 7 1059 THOMAS CAMPION, When to Her Lute Corinna Sings 1059 CONTENTS ANONYMOUS, Sir Patrick Spens 1060 DUDLEY RANDALL, Ballad of Birmingham 1061 AUGUSTUS MONTAGUE TOPLADY, A Prayer, Living and Dying 1062 ROBERT HAYDEN, Homage to the Empress of the Blues 1063 MICHAEL HARPER, Dear John, Dear Coltrane 1064 BOB DYLAN, The Times They Are A-Changin’ 1065 LINDA PASTAN, Listening to Boh Dylan, 2005 1066 MOS DEF, Hip Hop 1067 JOSE B. GONZALEZ, Elvis in the Inner City 1069 INTERNAL STRUCTURE 1071 DIVIDING POEMS INTO “PARTS” 1071 pat mora, Sonrisas 1071 INTERNAL VERSUS EXTERNAL OR FORMAL “PARTS” 1073 GALWAY KINNELL, Blackberry Eating 1073 LYRICS AS INTERNAL DRAMAS 1073 SEAMUS HEANEY, Punishment 1074 SAMUEL TAYLOR COLERIDGE, Frost at Midnight 1076 SHARON OLDS, The Victims 1078 MAKING ARGUMENTS ABOUT STRUCTURE 1079 POEMS WITHOUT “PARTS” 1079 WALT WHITMAN, I Hear America Singing 1079 POEMS FOR FURTHER STUDY 1080 WILLIAM SHAKESPEARE, [Th expense of spirit in a waste of shame] 1080 PERCY BYSSHE SHELLEY, Ode to the West Wind 1081 PHILIP LARKIN, Church Going 1083 AUTHORS ON THEIR WORK: Philip Larkin 1085 KATIE FORD, Still-Life 1086 SAMPLE WRITING: LINDSAY GIBSON, Philip Larkin’s Church Going” 1087 EXTERNAL FORM 1091 STANZAS 1091 TRADITIONAL STANZA FORMS 1091 RICHARD WILBUR, Terza Rima 1092 TRADITIONAL VERSE FORMS 1093 CONTENTS xvi FIXED FORMS OR FORM-BASED SUBGENRES 1094 TRADITIONAL FORMS . POEMS FOR FURTHER STUDY 1095 DYLAN THOMAS, Do Not Go Gentle into That Good Night 1095 NATASHA TRETHEWEY, Myth 1096 ELIZABETH BISHOP, Sestina 1096 CIARA SHUTTLEWORTH, Sestina 1098 E. E. CUMMINGS, [1(a) 1098 [Buffalo Bill’s] 1099 CONCRETE POETRY 1099 MAY SWENSON, Women 1100 GEORGE HERBERT, Easter Wings 1101 I HE, SOi’iMn : AW /u.aUm 1103 FRANCESCO PETRARCH, [Upon the breeze she spread her golden hair] 1104 HENRY CONSTABLE, [My lady’s presence makes the roses red] 1105 WILLIAM SHAKESPEARE, [My mistress’ eyes are nothing like the sun] 1105 [Not marble, nor the gilded monuments] 1106 [Let me not to the marriage of true minds] 1106 JOHN MILTON, [When I consider how my light is spent] 1107 william WORDSWORTH, Nuns Fret Not 1107 ELIZABETH BARRETT BROWNING, How Do I Love Thee? 1108 CHRISTINA ROSSETTI, In an Artist’s Studio 1108 EDNA ST. VINCENT MILLAY, [What lips my lips have kissed, and where, and why] 1109 [Women have loved before as I love now] 1109 [J, being born a woman and. distressed] 1109 [I will put Chaos into fourteen lines] 1110 ROBERT FROST, Range-Finding 1110 Design 1111 GWENDOLYN brooks, First Fight. Then Fiddle. 1111 GWEN HARWOOD, In the Park 1112 JUNE JORDAN, Something Like a Sonnet for Phillis Miracle Wheatley 1112 billy COLLINS, Sonnet 1113 HARRYETTE MULLEN, Dim Lady 1113 SHERMAN ALEXIE, The Facebook Sonnet 1114 MAiKU: AW A .A 1117 CHIYOJO, [Whether astringent] 1117 xviii CONTENTS basho, [A village without bells—] 1118 [This road—] 1118 BUSON, [Coolness—] 1118 [Listening to the moon] 1118 LAFCADIO HEARN, [Old pond----] 1118 CLARA A. WALSH, [An old-time pond] 1118 EARL MINER, [The still old pond] 1119 ALLEN GINSBERG, [The old pond] 1119 ALLEN GINSBERG, [Looking over my shoulder] 1119 RICHARD WRIGHT, [In the falling snow] 1119 ETHERIDGE KNIGHT, from [Eastern guard tower] 1119 [The falling snow flakes] 1119 [Making jazz swing in] 1120 AUTHORS ON THEIR WORK: Etheridge Knight 1120 MARK JARMAN, Haiku 1120 SONIA SANCHEZ, from 9 Haiku 1121 EZRA POUND, In a Station of the Metro 1121 SUE STANDING, Diamond Haiku 1121 LINDA PASTAN, In the Har-Poen Tea Garden 1122 THE LONGER WORK 1124 JOHN MILTON, from Paradise Lost 1128 SAMUEL TAYLOR COLERIDGE, The Rime of the Ancient Mariner 1132 CHRISTINA ROSSETTI, Gohlin Market 1148 T.S. ELIOT, The Love Song of J. Alfred Prufrock 1161 SAMPLE WRITING: DAN DOUGLAS, The Form of The Rime of the Ancient Mariner 1166 EXPLORING CONTEXTS 1170 THE AUTHOR’S WORK AS CONTEXT: ADRIENNE RICH 1172 POEMS BY ADRIENNE RICH 1176 At a Bach Concert 1176 Storm Warnings 1176 Living in Sin 1177 Snapshots of a Daughter-in-Law 1177 AUTHORS ON THEIR WORK: Adrienne Rich 1181 Planetarium 1182 For the Record 1183 CONTENTS x [My mouth hovers across your breasts] 1184 History 1184 Transparencies 1185 Tonight No Poetry Will Serve 1186 PASSAGES FROM RICH’S ESSAYS 1187 from When We Dead Awaken: Writing as Re-Vision 1187 from A Communal Poetry 1188 from Why I Refused the National Medal for the Arts 1189 from Poetry and the Forgotten Future 1192 SAMPLE WRITING: MELISSA MAKOLIN, Out-Sonneting Shakespeare: An Examination of Edna St. Vincent ¡Millay’s Use of the Sonnet Form 1199 LMii.V Xu.iTsi aM ; LL lIv! 1205 [Tell all the truth hut tell it slant—] 1206 [I stepped from Plank to Plank] 1206 [Wild Nights—Wild Nights!] 1207 [My Life had stood—a Loaded Gun—] 1207 [After great pain, a formal feeling comes—] 1208 [A narrow Felloiv in the Grass] 1208 WENDY COPE, Emily Dickinson 1209 HART CRANE, To Emily Dickinson 1209 billy COLLINS, Taking Off Emily Dickinson s Clothes 1210 W. :.i. YAAi S: AG /v hi LX 1215 The Lake Isle of Innisfree 1217 AUTHORS ON THEIR WORK: W. B. Yeats 1218 All Things Can Tempt Me 1218 Easter 1916 1219 The Second Coming 1221 Leda and the Swan 1222 Sailing to Byzantium 1222 W. H. AUDEN, In Memory of W. B. Yeats 1224 AUTHORS ON THEIR WORK: W. H. Auden 1226 ■A A. 1231 Elena 1232 Gentle Communion 1233 Mothers and Daughters 1233 La Migra 1234 Ode to Adobe 1235 1 XX CONTENTS THE AUTHOR’S WORK AS CONTEXT: WILLIAM BLAKE S SONGS OF INNOCENCE AND OF EXPERIENCE 1239 COLOR INSERT: FACSIMILE PAGES FROM SONGS OF INNOCENCE AND OF EXPERIENCE follows 1244 WILLIAM BLAKE’S SONGS OF INNOCENCE AND OF EXPERIENCE 1239 SONGS OF INNOCENCE, Introduction 1240 The Ecchoing Green 1241 Holy Thursday 1242 The Lamb 1242 The Chimney Sweeper 1243 SONGS OF EXPERIENCE, Introduction 1243 The Tyger 1244 The Garden of Love 1244 The Chimney Sweeper 1245 Holy Thursday 1245 KEVIN YOUNG: AN AU’.UM 1249 Rue 1250 Charity 1252 Wintering 1253 Expecting 1254 Quickening 1255 Breaking Water 1256 Greening 1257 It s death there] 1258 24 CULTURAL AND HISTORICAL CONTEXTS: THE HARLEM RENAISSANCE 1260 POEMS OF THE HARLEM RENAISSANCE 1270 ARNA BONTEMPS, A Black Man Talks of Reaping 1270 COUNTEE CULLEN, Yet Do I Marvel 1270 Saturday s Child 1271 From the Dark Tower 1271 ANGELINA GRIMKIi, The Black Finger 1272 Tenebris 1272 LANGSTON HUGHES, Harlem 1272 The Weary Blues 1273 The Negro Speaks of Rivers 1274 I, Too 1274 HELENE JOHNSON, Sonnet to a Negro in Harlem 1275 CONTENTS xxi CLAUDE MCKAY, Harlem Shadows 1275 If We Must Die 1276 The Tropics in New York 1276 The Harlem Dancer 1276 The White House 1277 CONTEXTUAL EXCERPTS 1277 JAMES WELDON JOHNSON, from the preface to The Book of American Negro Poetry 1277 ALAIN LOCKE, from The New Negro 1279 RUDOLPH FISHER, from The Caucasian Storms Harlem 1283 W. E. B. DU BOIS, from Two Novels 1287 ZORA NEALE HURSTON, How It Feels to Be Colored Me 1288 LANGSTON HUGHES, from The Big Sea 1291 SAMPLE WRITING: IRENE MORSTAN, “They’ll See How Beautiful I Am : “I, Too and the Harlem Renaissance 1297 CRITICAL CONTEXTS: SYLVIA PLATH’S “DADDY” 1302 SYLVIA PLATH, Daddy 1303 CRITICAL EXCERPTS 1307 GEORGE STEINER, from Dying Is an Art 1307 A. ALVAREZ, from Sylvia Plath 1310 IRVING HOWE, from The Plath Celebration: A Partial Dissent 1311 JUDITH KROLL, from Rituals of Exorcism: “Daddy” 1313 MARY LYNN BROE, from Protean Poetic 1314 MARGARET HOMANS, from A Feminine Tradition 1316 PAMELA J, ANNAS, from A Disturbance in Mirrors 1317 STEVEN GOULD AXELROD, from Sylvia Plath: The Wound and the Cure of Words 1319 LAURA FROST, from “Every Woman Adores a Fascist”: Feminist Visions of Fascism from Three Guineas to Fear of Flying 1326 READING MORE POETRY 1332 W. H. AUDEN, Musée des Beaux Arts 1332 ROBERT BROWNING, Porphyrias Lover 1333 My Last Duchess 1334 SAMUEL TAYLOR COLERIDGE, Kubla Khan 1335 E. E. CUMMINGS, [in Just-] 1337 xxii CONTENTS JOHN DONNE, [Death, he not proud] 1338 Song 1338 The Sun Rising 1339 A Valediction: Forbidding Mourning 1339 PAUL LAURENCE DUNBAR, We Wear the Mask 1340 ROBERT FROST, Flome Burial 1341 Stopping by Woods on a Snowy Evening 1344 allen ginsberg, The Velocity of Money 1344 thomas HARDY, Convergence of the Twain 1345 ROBERT HAYDEN, Frederick Douglass 1346 SEAMUS HEANEY, Digging 1347 GERARD MANLEY HOPKINS, God s Grandeur 1348 The Windhover 1348 BEN jonson, On My First Son 1349 JOHN KEATS, Ode on a Grecian Urn 1349 To Autumn 1350 ETHERIDGE KNIGHT, Hard Rock Returns to Prison from the Hospital for the Criminal Insane 1351 YUSEF KOMUNYAKAA, Facing It 1352 AUTHORS ON THEIR WORK: Yusef Komunvakaa 1353 EMMA LAZARUS, The New Colossus 1354 ANDREW MARVELL, On a Drop of Dew 1354 LINDA PASTAN, love poem 1355 MARGE PIERCY, Barbie Doll 1356 SYLVIA PLATH, Lady Lazarus 1357 Morning Song 1359 EDGAR ALLAN POE, The Raven 1359 EZRA POUND, The River-Merchant’s Wife: A Letter 1362 THEODORE ROETHKE, Root Cellar 1363 PERCY BYSSHE SHELLEY, Ozymandias 1363 WALLACE STEVENS, Anecdote of the Jar 1364 The Em.peror of Ice-Cream 1364 ALFRED, LORD TENNYSON, Tears, Idle Tears 1365 Ulysses 1365 WALT whitman, Facing West from California’s Shores 1367 A Noiseless Patient Spider 1367 WILLIAM CARLOS WILLIAMS, The Dance 1368 Landscape with the Fall of Icarus 1368 william WORDSWORTH, [The world is too much with ms] 1369 [A slumber did my spirit seal] 1369 BIOGRAPHICAL SKETCHES: POETS 1370 CONTENTS DRAMA: READING, RESPONDING, WRITING 1388 READING DRAMA 1388 SUSAN GLASPELL, Trifles 1391 RESPONDING TO DRAMA 1401 SAMPLE WRITING: Annotation o/Trifles 1401 SAMPLE WRITING: Reading Notes 1404 WRITING ABOUT DRAMA 1407 SAMPLE WRITING: JESSICA ZEZULKA, Trifles Plot Response Paper 1409 SAMPLE WRITING: STEPHANIE ORTEGA, A Journey of Sisterhood 1411 UNDERSTANDING THE TEXT 1414 A ELEMENTS OF DRAMA 1414 AUGUST WILSON, Fences 1423 AUTHORS ON THEIR WORK: August Wilson 1474 QUIARA ALEGRÍA HUDES, Water by the Spoonful 1475 TRAGEDY AND COMEDY 1524 SOPHOCLES, Oedipus the King 1526 OSCAR WILDE, The Importance of Being Earnest 1566 EXPLORING CONTEXTS 1612 * ‘ THE AUTHOR’S WORK AS CONTEXT: WILLIAM SHAKESPEARE 1612 THE LIFE OF SHAKESPEARE: A BIOGRAPHICAL MYSTERY 1612 EXPLORING SHAKESPEARE’S WORK: A MIDSUMMER NIGHT’S DREAM AND HAMLET 1614 A Midsummer Night s Dream 1618 Hamlet 1674 CULTURAL AND HISTORICAL CONTEXTS: LORRAINE HANSBERRY’S RAISIN IN THE SUN 1770 LORRAINE HANSBERRY, A Raisin in the Sun 1780 AUTHORS ON THEIR WORK: Lorraine Hansberry 1844 CONTEXTUAL EXCERPTS 1847 RICHARD WRIGHT, from Twelve Million Black Voices 1847 XXIV CONTENTS ROBERT GRUENBERG, from Chicago Fiddles While Trumbull Park Burns 1851 GERTRUDE SAMUELS, from Even More Crucial Than in the South 1853 WILMA DYKEMAN AND JAMES STOKELY, from New Southerner: The Middle-Class Negro 1856 martin LUTHER king, JR., from Letter from Birmingham Jail 1858 ROBERT C. WEAVER, from The Negro as an American 1860 earl E. THORPE, from Africa in the Thought of Negro Americans 1864 PHAON GOLDMAN, from The Significance of African Freedom for the Negro American 1865 BRUCE NORRIS, from Clyhourne Park 1868 * CRITICAL CONTEXTS: SOPHOCLES’S ANTIGONE 1873 Sophocles, Antigone 1875 CRITICAL EXCERPTS 1908 RICHARD C. JEBB, from The Antigone of Sophocles 1908 MAURICE BOWRA, from Sophoclean Tragedy 1909 BERNARD KNOX, from Introduction to Antigone 1911 MARTHA C. NUSSBAUM, from Sophocles’ Antigone: Conflict, Vision, and Simplification 1918 PHILIP HOLT, from Polis and the Tragedy in the Antigone 1923 SAMPLE WRITING: JACKIE IZAWA, The Two Faces of Antigone 1933 READING MORE DRAMA 1940 ANTON CHEKHOV, The Cherry Orchard 1940 HENRIK IBSEN, A Doll House 1978 JANE MARTIN, Two Monologues from Talking With . . . 2028 ARTHUR MILLER, Death of a Salesman 2033 AUTHORS ON THEIR WORK: Arthur Miller 2100 WOLE SOYINKA, Death and the King’s Horsemen 2101 TENNESSEE WILLIAMS, A Streetcar Named Desire 2151 WRITING ABOUT LITERATURE 2219 ! BASIC MOVES: PARAPHRASE, SUMMARY, AND DESCRIPTION 2220 THE LITERATURE ESSAY 2224 CONTENTS xxv THE WRITING PROCESS 2244 THE LITERATURE RESEARCH ESSAY 2257 QUOTATION, CITATION, AND DOCUMENTATION 2268 SAMPLE RESEARCH ESSAY SARAH ROBERTS, “Only a Girl’’? Gendered Initiation in Alice Munro s Boys and Girls 2295 CRITICAL APPROACHES 2305 GLOSSARY Al Permissions Acknowledgments A14 Index of Authors A31 Index of Titles and First Lines A38 Index of Literary Terms A47
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title	The Norton introduction to literature
title_auth	The Norton introduction to literature
title_exact_search	The Norton introduction to literature
title_full	The Norton introduction to literature Kelly J. Mays, University of Las Vegas, Nevada
title_fullStr	The Norton introduction to literature Kelly J. Mays, University of Las Vegas, Nevada
title_full_unstemmed	The Norton introduction to literature Kelly J. Mays, University of Las Vegas, Nevada
title_short	The Norton introduction to literature
title_sort	the norton introduction to literature
topic	Literatur Literature Collections Englisch (DE-588)4014777-0 gnd Literatur (DE-588)4035964-5 gnd Literaturwissenschaft (DE-588)4036034-9 gnd
topic_facet	Literatur Literature Collections Englisch Literaturwissenschaft Einführung Anthologie
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The Norton introduction to literature

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