Bruce Beiderwell and Jeff Wheeler know that studying literature can be intimidating because of the specialized terminology and categorization. Rather than focusing first on terms or definitions, THE LITERARY EXPERIENCE helps you develop the skills to understand and appreciate literature by organizing the book and beginning each discussion by asking the same questions that you really ask yourself when you read a text - questions like "What happened and why do we care?" or "Who is involved and why does it matter?". With THE LITERARY EXPERIENCE, you will learn all of the literary terms you need to share your experience while you engage in the poems, stories and plays themselves.

In this textbook and reader, Beiderwell (U. of California-Los Angeles) and Wheeler (Long Beach City College) combine literary selections and discussion of literary elements arranged to facilitate thoughtful writing about the texts. Chapters on such topics as character, theme, setting, tone, allegory allusion, and genre, include anthologies of fiction, poetry, and drama. They also refer to films that are available as part of the pedagogical support package. Annotation ©2007 Book News, Inc., Portland, OR (booknews.com)

"Your 'canon' is quite inclusive-- I am happy to see females authors and authors of color well represented. I am also happy to see Shakespeare, Swift, and other 'classics.' Your literature selections include very new writing and very old-- as it should be in an introductory course in literature. As a newcomer to the text, it is reassuring to see literature that I have taught many times before along with works I have not yet taught. Teaching should be a process of continual learning, and the inclusion of unfamiliar texts allows for that."

"I very much like the idea of works in different genres to teach the basic elements of literature. This not only keeps from relegating poetry to the "deeper, harder" section of the semester, but demonstrates that poetry can be read and understood by the average student. It also helps students to focus on single elements and develop their ideas about specific works rather than trying to write about a work in many general terms."

"The thematic clusters are the strongest feature of the text. Teaching by themes allows the teacher and students to explore the different ways different writers examine and develop similar ideas."

"In terms of the specifics of the chapter (Chapter 12) that I have been sent, I applaud the inclusion of film discussions. Students are very aware of popular culture, and film is often a good way to explain literary terms, techniques, and other tools that literature students need to learn. Additionally, the text seems not to treat film as something simply to be enjoyed (vs. enjoyed, appreciated, examined, studied, treated seriously, etc.), and as a film instructor (in addition to literature, film adaptation, etc.), this is refreshing to see."

Bruce Beiderwell completed his Ph.D. in 1985 and since that time has taught a wide range of composition and literature courses. He has published articles and reviews on nineteenth century fiction and detective fiction. His book Power and Punishment in Scott's Novels (University of Georgia Press, 1992) was nominated in 1993 for the McVities Prize—an award given to the best book of the year on a Scottish subject. Beiderwell is now Director of UCLA Writing Programs.Jeff Wheeler currently serves as chair of the English department at Long Beach City College in Long Beach, California, where he also teaches a wide variety of literature and composition courses. He has taught at UCLA, Pepperdine, and USC, where he earned his doctorate in English. His work in literature of the English Reformation has earned him places in two seminars sponsored by the National Endowment for the Humanities.

1. Scene, Episode, and Plot. What Happened, and Why Do We Care? Edouard Boubat, Rendez-vous at the Café La Vache Noire. Incident, Scene, and Sequence. Experiencing Literature through Plot. Robert Pinsky, Poem with Lines in Any Order. Wislawa Szmborska, ABC. Episode, Impression, and Fragment. Claude Monet, Portal of Rouen Cathedral in Morning Light. Experiencing Literature through Impression and Episode. Stephen Crane, An Episode of War. Tension, Release, and Resolution. Multiple and Reflexive Plots. Memento. A NOTE TO STUDENT WRITERS: Critical Reading and Understanding. Marge Piercy, Unlearning to not speak. Modeling Critical Analysis: Jamaica Kincaid, Girl. Jamaica Kincaid, Girl. Anthology: Detective Work: Figuring Plot. Fiction: Arthur Conan Doyle, A Scandal in Bohemia. Don Lee, The Price of Eggs in China. Poetry: Emily Dickinson, [A Route of Evanescence]. Emily Dickinson, [I l like to set it lap the Miles-]. E.A. Robinson, Richard Cory. Robert Frost, Stopping by Woods on a Snowy Evening. William Stafford, Traveling through the Dark. Kevin Young, The Set-up. Kevin Young, The Chase. Aron Keesbury, On the Robbery across the Street. Muriel Rukeyser, Myth. Drama:Sophocles, Oedipus the King. 2. Character: Who Is Involved, and Why Does It Matter? Building Character. Experiencing Literature through Character. Michael Chabon, from The Amazing Adventures of Kavalierand Clay. Presenting Character. A NOTE TO STUDENT WRITERS: Leading Questions. Picturing Character. Experiencing Film and Literature through Character. Gone with the Wind. Hattie McDaniel accepting her Academy Award at the Coconut Grove. Rita Dove, Hattie Mc Daniel Arrives at the Coconut Grove. Feeling for the Character. Experiencing Literature through Character. Cathy Song, Picture Bride. Robert Hayden, Those Winter Sundays. Character and Function. Judith Ortiz Cofer, My Father in the Navy: A Childhood Memory. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Power plays: Characterizing Relationships. Fiction: Alice Munro, How I Met My Husband. Luigi Pirandello, The Soft Touch of Grass. Alice Walker, Everyday Use. Poetry:Edgar Lee Masters, Elsa Wertman. Edgar Lee Masters, Hamilton Greene. Robert Frost, Home Burial. Audre Lorde, Now That I am Forever a Child. Eavan Boland, The Pomegranate. Sylvia Plath, Daddy. Quincy Troupe, Poem for My Father. Kitty Tsui, A Chinese Banquet. Billy Collins, Lanyard. E.A. Robinson, The Mill. Liz Rosenberg, 1:53 A.M. Gwendolyn Brooks, Sadie and Maud. Seamus Heaney, Mid-Term Break. Michael Lassell, How to Watch Your Brother Die. Adrienne Rich, Aunt Jennifers Tigers. Gary Soto, Black Hair. Drama: Anton Checkhov, The Proposal: A Jest in One Act. 3. Theme. What Does This Text Mean? Is There One Right Way to Read this Text? Theme and Thesis. Theme and Moral. Charles Perrault, Little Red Riding Hood. James Thurber, The Girl and the Wolf. Calvin Coolidge. Girl Devoured by Wolf. Experiencing Literature through Theme. Mage Piercy, A work of Artifice. Multiple Themes in a Single Work. Experiencing Literature through Theme. Maxine Hong Kingston, The Wild Man of the Green Swamp. When the Message Is Unwanted. Triump of the Will. A NOTE TO THE STUDENT WRITERS: Discovering What You Want to Say. Modeling Critical Analysis: Jamaica Kincaid, Girl. Anthology: Exploring Boundries: Interpreting Theme. Fiction: Luisa Valenzuela, The Censors. Flannery OConner, A Good Man is Hard To Find. Poetry:John Keats, La Bella Dame san Merci: A Ballad. Edna St. Vincent Millay, [Woman have loved before as I love now]. Elizabeth Bishop, Casabianca. Ted Hughes, Lovesong. Carolyn Forché, The Colonel. William Butler Yeats, Leda and Swan. D.H. Lawrence, Snake. Richard Wilbur, A Fable. Linda Pastan, Ethics. Drama: Christopher Marlowe, Doctor Faustus. 4. Point of View. How Do We Know What We Know about What Happened? Perspective. Albrecht Dürer, Working on Perspective. Masaccio, Trinity. Plan and elevation of Masaccios Trinity. Dorothy Parker, Penelope. A NOTE TO STUDENT WRITERS: Distinguishing Author from Speaker. The Narrative Eye. Caspar David Friedrich, Wanderer above the Sea of Fog. Caspar David Friedrich, Women in the Morning Light. Reliable and Unreliable Narrators. First-Person Narrators. Experiencing Literature through Point of View. Wendell Berry, The Vacation. Film Focus and Angles. The Magnetic Ambersons. Citizen Kane. Trapped. Nosferatu. Henry Taylor, After a Movie. Experiencing Film through Point of View. Rear Window. Shifting Perspectives. Stevie Smith, Not wanting but Drowning. Experiencing Literature through Perspective. Charles Sheeler, River Rouge Plant Stamping Press. Philip Levine, Photography 2. Frank X. Gasper, It Is the Nature of the Wing. Modeling Critical Analysis: Robert Browning, My Last Duchess. Robert Browning, My Last Duchess. Anthology: Trust and Doubt: A Matter of Point of View. Fiction:Ann Beattie, Janus. Kate Chopin, The Story of an Hour. Charlotte Perkins Gilman, The Yellow Wallpaper. Poetry:Helane Levine Keating, My Last Duke. William Carlos Williams, This Is Just to Say. Erica-Lynn Gambino, This Is Just to Say. Elizabeth Bishop, The Fish. Edna St. Vincent Millay, Childhood Is the Kingdom Where Nobody Dies. Charles Simic, Prodigy. John Donne, The Good-Marrow. Adrienne Rich, Living in Sin. W.S. Merwin, Seperation. H.D. Helen. Sylvia Plath, The Applicant. Sylvia Plath, Mirror. Robert Morgan, Working in the Rain. Drama:William Shakespeare, Much Ado about Nothing. 5. Setting. Where and When Does This Action Take Place? Why Does it Make a Difference? Place and Time. Greetings from Fargo postcard. A NOTE TO STUDENT WRITERS: Descriptive Summaries. Experiencing Literature through Setting. Denise Levertov, February Evening in New York. Theodore Dreiser, from Sister Carrie. Department store interior. The Role of Physical Objects. Kazuo Ishiguro, From from Remains of the Day. Imaginary Places. Experiencing Film through Setting. Amélie. Babe: Pig in the City. A NOTE TO STUDENT WRITERS: Paying Attention to Details. Modeling Critical Analysis: Robert Browning, My Last Duchess. Anthology: From Gothic Space to Recognizable Place: Creating Setting. Giovanni Piranesi, from Imaginary Prisons. Fiction:James Joyce, Araby. Edgar Allan Poe, The Fall of the House of Usher. Poetry:Samuel Taylor Coleridge, Kulba Khan: or, a Vision in a Dream. Edgar Allan Poe, The Raven. Christina Rossetti, Cobwebs. Oscar Wilde, The Harlots House. Dudley Randall, Ballad of Birmingham. Joy Harjo, New Orleans. Joy Harjo, The Women Hanging from the Thirteenth Floor Window. Gary Soto, Braly Street. Gary Soto, Kearney Park. Ginger Andrews, Rolls Royce Dreams. Barbara Ras, Childhood. Chitra Banerjee Divakaruni, Indian Movie, New Jersey. B.H. Fairchild, The Dunka. Drama:Tennessee Williams, The Glass Menagerie. 6. Rhythm, Pace, and Ryme. How Do Sounds Move? Filmic Rhythm. Experiencing Film through Rhythm. Jaws. Poetic Rhythm. Experiencing Literature through Rhythm. Herman Melville, The Maldive Shark. William Blake, Nurses Song. The Rhythm of Pauses. Experiencing Literature through Rhythm. Samuel Johnson, On the Death of Dr, Robert Levet. Ben Jonson, On My First Son. A NOTE TO STUDEN WRITERS: Commanding Attention. The Rhythm of Sounds. Experiencing Literature through Rhythm and Rhyme. Randall Jarrell, The Death of the Bell Turret Gunner. Robert Frost, Fire and Ice. Modeling Critical Analysis: Robert Browning, My Last Duchess. Anthology: Innocence and Experience: Rhythm and Meaning. Fiction:James Baldwin, Sonnys Blues. Ursula K. Le Guin, The Ones Who Walk Away from Omelas. Susan Minot, Lust. Poetry:William Blake, The Lamb. William Blake, The Chimney Sweeper (Innocence). William Blake, The Tyger. William Blake, The Chimney Sweeper (Innocence). William Blake, Holy Thursday (Innocence). Theodore Roethke, My Papas Waltz. Theodore Roethke, The Waking. Langston Hughes, Dream Boogie. Langston Hughes, The Negro Speaks of Rivers. Gwendolyn Brooks, We Real Cool. Countee Cullen, Incident. Denise Levertov, In Mind. Sharon Olds, I Go Back to May. Sharon Olds, The Death of Marilyn Manroe. Drama:Suzan-Lori Parks, Topdog/Underdog. 7. Images How Do We Experience Sensations in a Written Text? Creating Pictures with Words. William Carlos Williams, The Red Wheelbarrow. Czeslaw Milosz, Watering Can. Sailboat. Georges Seurat, Entrance to the Harbor. Experiencing Literature through Imagery. Wislawa Szymborska, The Courtesy of the Blind. Registering Taste and Smell. Sideways. Experiencing Literature through Images. Salman Rushdie, On Leavened Bread. Nun with Bread. Interaction of the Senses. John Milton, from Paradise Lost. Gangs of New York. Lost in Translation. Experiencing Literature through Images. Richard Wilbur, A Fire-Truck. Interaction of Woods and Pictures. Michael Ondaatje, King Kong Meets Wallace Stevens. Wallace Stevens. King Kong. Experiencing Literature through Images. Yosa Buson, Hokku Poems in Four Seasons. A NOTE TO STUDENT WRITERS: Using Specific Detail. Modeling Critical Analysis: T.S. Eliot, The Love Song of J. Alfred Prufrock. Anthology: Home and Away: Personalizing Images. Fiction: Alice Munro, Boys and Girls. Haruki Murakami, UFO in Kushiro. Poetry:William Blake, London. William Wordsworth, London. William Wordsworth, Composed upon Westminster Bridge, September 3,1802. William Wordsworth, The World Is Too Much with Us. William Wordsworth, [I wandered lonely as a cloud]. Emily Dickinson, [Theres a certain Slant of light]. Robert Frost, Birches. Robert Frost, Acquainted with the Night. Ezra Pound, In a Station of the Metro. Wallace Stevens, The Snow Man. Wallace Stevens, Thirteen Ways of Looking at a Blackbird. e.e. cummings in just-. Maya Angelou, Harlem Hopscotch. Richard Wilbur, April 5, 1974. Mary Oliver, Spring. Mary Oliver, Ghosts. Derek Walcott, Dry Season. Drama:Susan Glaspell, Trifles. 8. Coherence. Is There a Pattern Here? How Does This Fit Together? Nick Hornby, from High Fidelity. High Fidelity. Design and Shape. George Herbert, Easter Wings. Thomas Hardy, The Convergence of the Twain. Traditional Structures. Sonnet chart. Experiencing Literature through Form. William Wordsworth, Nuns Fret Not. Edna St. Vincent Millay, I, Being Born a Woman and Distressed. Robert Frost, Design. Dylan Thomas, Do Not Go Gentle into That Good Night. A NOTE TO STUDENT WRITERS: Complicating a Thesis. Coherence without Traditional of Fixed Structure. Philip Levine, The Simple Truth. Modeling Critical Analysis: T.S. Eliot, The Love Song of J. Alfred Prufrock. Anthology: Rituals and Routines: Structuring for Coherence. Fiction:Charles W. Chesnutt, Wife of His Youth. John Updike, A&P. Jonathan Safran Foerm, The Very Rigid Search. Poetry: William Cullen Bryant, To Cole, The Painter, Departing for Europe. Joe Kane, The Boy Who Nearly Won the Texaco Art Competition. Elizabeth Bishop, Manners for a child of 1918. Phillips Wheatley, On Being Brought from Africa to America. Robert Frost, The Road Not Taken. Thomas Lux, The Swimming Pool. Lawrence Ferlinghetti, Constantly risking absurdity. Allen Ginsberg, Supermarket in California. Richard Wilbur, A Sketch. Miller Williams, Thinking about Bill, Dead of Aids. Drama:David Ives, Sure Thing. 9. Interruption. Where Did That Come From? Why Is This Here? Interrupting the Fictional Frame. The Princess Bride. Experiencing Literature through Interruption. Douglas Adams, from The Hitchhikers Guide to the Galaxy. Structural Interruptions. William Butler Yeats, The Folly of Being Comforted. Mary Oliver, Bone Poem. Experiencing Film through Interruption. Pulp Fiction. Juxtaposition. Margaret Bouke-White, At the Time of the Louisville Flood. Experiencing Literature through Juxtaposition. Ted Kooser, Tattoo Montage. Experiencing Film through Juxtaposition. Roger and Me. A NOT TO STUDENT WRITERS: Making Comparisons Relevant. Modeling Critical Analysis: T.S. Eliot, The Love Song of J. Alfred Prufrock. Anthology: Framing, Mapping, and Exploration: Placing Interuption. Fiction:Jorges Luis Borgesm The Garden of Forking Paths. Joseph Conrad, The Secret Sharer. Eudora Welty, A Worn Path. Raymond Carver, Cathedral. Poetry:Elizabeth Bishop, Brazil, January, 1502. Louise Bogan, Cartography. Sharon Olds, Topography. Langston Hughes, Theme for English B. Laura Riding, The Map of Places. Richard Wilbur, Worlds. Samuel Taylor Coleridge, The Rime of the Ancient Mariner. Alfred, Lord Tennyson, Ulysses. Emily Dickinson, [The Brain-is wider than the Sky-]. Emily Dickinson, [I never saw a Moor-]. Emily Dickinson, [Tell all the Truth but tell it slant-]. Emily Dickinson, [To make a prairie it takes a clover. and one bee]. John Donne, The Sun Rising. John Donne, A Valediction: Forbidding Mourning. Drama:William Shakespeare, Hamlet. 10. Tone. Did I Hear That Right? Hearing Right. Margaret Atwood, you fit into me. Experiencing Literature through Tone. Dorothy Parker, One Perfect Rose. Dorothy Parker, Thought for a Sunshiny Morning. John Donne, The Flea. Mixing and Balancing Opposing Tones. Ted Kooser, A letter from Aunt Bella. Experiencing Literature through Tone. Zora Neale Hurston, from Mules and Men. Irony and Introspection. Margaret Atwood, Siren Song. Chinua Achebe, Dead Mens Path. Czeslaw Milosz, If There Is No God. A NOTE TO ALL STUDENT WRITERS: Signaling Your Own Understanding of Tonal Shifts. Modeling Critical Analysis: Joel Coen and Ethan Coen, O Brother, Where Art Thou? Margaret Bourke-White, Guard with a shotgun. O Brother, Where Art Thou? Anthology: Caught Between Laughter and Tears: Considering Tone In Analysis Fiction:Billy Collins, I chop Some Parsley While Listening to Art Blakeys Version of "There Blind Mice." W.H. Auden, Musée des Beaux Arts. Elizabeth Bishop, One Art. Quincy Troupe, Untitled. Sherman Alexie, Defending Walt Whitman. Ted Kooser, A Hairnet with Stars. Yusef Komunyakaa, A Break from the Bush. Lisel Mueller, Not Only the Eskimos. Drama:Christopher Durang and Wendy Wasserstein, Medea. 11. Word Choice. Why This Word and Not Another? Precision and Playfulness. Erasmus, from De Duplici Copia Verborum et Rerum. Experiencing Film and Literature through Diction. Moulin Rouge. Beyond Summary. William Shakespeare, Sonnets (From fairest creatures we desire increase; When forty winters shall besiege they brow; Look in thy glass, and tell the face thou viewers; Lo! In the orient when the gracious light; Music. to hear, why hearst thou music sadly?; Is it for fear to wet a widows eye; Shall I compare three to a summers day?). A NOTE TO STUDENT WRITERS: On the Paraphrase. Definition and Usage. Billy Collins, Thesaurus. Oxford English Dictionary, Love. Experiencing Literature through Word Choice. Robert Sward, For Gloria on Her 60th Birthday, or Looking for Love in Merriam-Webster. Critically Reflecting on Words. Lewis Shiner, from The Turkey City Lexicon: A Primer for Science Fiction Workshops. Bulwer-Lytton Contest Winners Modeling Critical Analysis: Joel Coen and Ethan Coen, O. Brother Where Art Thou? Anthology: Romantic Love: Expressing the Exact Emotion. Fiction:Raymond Carver, What We Talk about When We Talk about Love. Edith Wharton, Ramon Fever. Poetry:Anonymous, My Love in Her Attire. John Donne, Elegy 19: To His Mistress Going to Bed. John Fletcher, [Take, oh Take those lips away]. Anonymous, Western Wind. Henry Howard, Earl of Survey, [Love that doth reign and live with in my thought]. Thomas Wyatt, [The long love that in my heart doth harbor]. e.e. cummings, Spring is like perhaps hand. e.e. cummings, since feeling is first. Emily Dickinson, [Wild Nights-Wild Nights!]. Galway Kinnell, Shelley. Robert Burns, A Red, Red Rose. Edna St. Vincent Millay, What Lips My Lips Have Kissed. Denise Levertov, The Ache of Marriage. Denise Levertov, Divorcing. Christopher Marlow, The Passionate Shepherd to His Love. Sir Walter Ralegh, The Nymphs Reply to the Shepherd. Andrew Marvell, To His Coy Mistress. Elizabeth Barrett Browning, [When our two souls stand up]. Robert Browning, Meeting at Night. Robert Browning, Parting at Morning. Drama:Henrik Ibsen, A Dolls House. 12. Allegory. Is This Supposed to Mean Something Else, Too? Learning through Likeness. Gertude Crampton, from Tootle. Front cover of Tootle. A NOTE TO STUDENT WRITERS: Using Analogies in Arguments. Experiencing Literature through Allegory. Aesop, The Crow and the Pitcher. Walter Crane, Aesops "The Crow and the Pitcher." Emily Dickinson, [Eden is that old-fashioned House]. Embodying Timeless Qualities. Engraving of Statue of Justice holding the scales. Dosso Dossi, Allegory of Fortune. Billy Collins, The Death of Allegory. Reading Allegory. Plato, The Allegory of the Cave. Experiencing Film through Allegory. The Matrix. Modeling Critical Analysis: Joo Guimes Rosa, The Third Bank of the River. Joo Guimares Rosa, The Third Bank of the River. Anthology: The Quest for Truth: Reading Allegory. Fiction:Nathaniel Hawthrone, Young Goodman Brown. Poetry:Lewis Carroll, Jabberwocky. Sir John Tenniel, The Jabberwocky. Edmund Spenser, from The Fairies Farewell. Robert Browning, Porphyrias Lover. John Donne, Batter My Heart, Three-Personed God. John Donne, The Canonization. John Donne, Death, Be Not Proud. Emily Dickinson, [Because I could not stop for Death-]. Gerard Manley Hopkins, Pied Beauty. Gerard Manley Hopkins, The Windhover. Ogden Nash, Kind of an Ode to Duty. Amiri Baraka, In Memory of Radio. Anne Carson, TV Men: Lazarus. Drama:Jane Martin, Beauty. 13.Symbolism. How Do I Know When an Event or an Image Is Supposed to Stand for Something Else? Figurative Language. Experiencing Literature through Symbols. Mary Jo Salter, Home Movies: A Sort of Ode. Recognizing Symbols What does an apple symbolize [images] Gary Soto Oranges. Allegory and Symbol. Experiencing Literature through Symbolism. Nathaniel Hawthorne, from Young Goodman Brown. A NOTE TO STUDENT WRITERS: Justifying a Symbolic Reading. Modeling Critical Analysis: Joo Guimares Rosa, The Third Bank of the River. Anthology: Building and Undoing Community: Taking Part in Symbolism. Fiction:Gabriel García Márquez, The Handsomest Drowned Man in the World: A Tale for Children. Jhumpa Lahiri, This Blessed Home. Shirley Jackson, The Lottery. Poetry:Matthew Arnold, Dover Beach. Jimmy Santiago Baca, Green Chile. e.e. cummings, [anyone lived in a pretty how town]. Emily Dickinson, [The Soul selects her own Society-]. Seamus Heaney, Valediction. Peter Meinke, Sunday at the Apple Market. Sharon Olds, The Possessive. Alice Walker, Women. Walt Whitman, There Was a Child Went Forth. William Carlos Williams, At the Ball Game. William Butler Yeats, The Wild Swans at Coole. Elizabeth Bishop, Pink Dog. Emma Lazarus, The New Colossus. Drama: Arthur Miller, Death of a Salesman. 14. Context. What Outside Information Do We Really Need to Know to Understand the Text? How Does New Knowledge Influence Our Experience of Old Texts? Alfred, Lord Tennyson, The Charge of the Light Brigade. Apocalypse Now. How is Knowledge "Outside" the Text Helpful? Czeslaw Milosz, A Song on the End of the World. Experiencing Literature in Context. Czeslaw Milosz, Christopher Robin. Do We Need to Know Everything in Order to Understand? The Maltese Falcon. Experiencing Art in Context. Gustave Caillebotte, Young Man at his Window. What if Substantial Outside Knowledge is Essential? Herman Melville, The House-Top. A NOTE TO STUDENT WRITERS: Using Electronic and Printed. Sources for Research. Modeling Critical Analysis: Joo Guimares Rosa, The Third Bank of the River. Anthology: Language and War: Considering Context in Analysis. Fiction: Ernest Hemingway, Soldiers Home. Tim OBrien, The Things They Carried. Tillie Olsen, I stand Here Ironing. Poetry:Herman Melville, A Utilitarian View of the Monitors Fight. Stephen Crane, There Was a Crimson Clash of War. e.e. cummings, [i sing of Olaf glad and big]. Richard Eberhart, The Fury of Aerial Bombardment. Edgar A. Guest, The Things That Make a Soldier Great. Sir Henry Newbolt, Vitai Lampada. Wilfred Owen, Anthem for Doomed Youth. Wilfred Owen, Dulce et Decorum Est. Carl Sandburg, Grass. Siegfried Sassoon, The Rear-Guard. Siegfried Sasson, Repression of War Experience. Anne Sexton, Courage. Alice Moore Dunbar-Nelson, I Sit and Sew. Yusef Komunyakaa, Facing It. Judith Ortiz Cofer, The Changeling. Mary Jo Salter, Welcome to Hiroshima. Wislawa Szymborska, The End and the Beginning. Wislawa Szymborska, Monologue of a Dog Ensnared. In History. Adrienne Rich, For the Record. Drama: Gina Victoria Shaffer, War Spelled Backwards. 15. Allusions. In Order to Understand This Text, Is There Something Else. I Am Supposed to Have Read? Creating Community. Experiencing Literature through Allusions. Charles Simic, My Weariness of Epic Proportions. Revisiting and Renewal. Dick Barnes, Up Home Where I Come From. Leonardo da Vinci, The Last Supper. William Wordsworth, My Heart Leaps Up. Experiencing Film through Allusions. Saturday Night Fever. Pulp Fiction. Identifying and Responding to Allusions. A NOTE TO STUDENT WRITERS: Reference versus Allusion. Modeling Critical Analysis: Tom Stoppard, The Fifteen Minute Hamlet. Tom Stoppard, The Fifteen Minute Hamlet. Anthology: The Myth of Cheating Death: Keeping Literature Alive with Allusion. Fiction:Joyce Carol Oates, Where Are You Going, Where Have You Been? William Faulkner, A Rose for Emily. Poetry:Percy Bysshe Shelley, Ozymandias. Sharon McCartney, After the Chuck Jones Tribute. On Teletoon. Robert Duncan, Persephone. Sylvia Plath, Two Sisters of Persephone. John Keats, Ode on a Grecian Urn. John Keats, [When I have fears that I may cease to be]. John Keats, On First Looking into Chapmans Homer. Amy Clampitt, The Dakota. Alfred, Lord Tennyson, The Lady of Shalott. William Butler Yeats, Sailing to Byzantium. Czeslaw Milosz, Orpheus and Eurydice. Rainer Maria Rilke, Orpheus, Eurydice, Hermes. Jorie Graham, Orpheus and Eurydice. H.D., Eurydice. Adrienne Rich, I Dream Im the Death of Orpheus. Drama:Mary Zimmerman, Metamorphoses. 16. Genre. How Do Our Expectations Impact Our Literary Experience? How Are Those Expectations Formed? What is Genre? Conventions. Experiencing Literature through Genre. William Shakespeare, from Macbeth. Displacement and Parody. Publicity poster for Buffy the Vampire Slayer. Mark Twain, Ode to Stephen Dowling Bots, Decd. Genre and Poplar Culture. Boys dressed as cowboys [images]. Experiencing Film through Genre. Shane. Unforgiven. A NOTE TO ALL STUDENT WRITERS: Moving beyond Formulaic Writing. Modeling Critical Analysis: Tom Stoppard, The Fifteen Minute Hamlet. Anthology: Honoring the Dead and Dignifying Death: Tracing Genre. Fiction:Katherine Anne Porter, The Jilting of Granny Weatherall. Margaret Atwood, Happy Endings. Poetry:John Milton, Lycidas. Walt Whitman, When Lilacs Last in the Dooryard Bloomd. Gwendolyn Brooks, De Witt Williams on His Way to Lincoln Cemetery. Allen Tate, Ode to the Confederate Dead. Robert Lowell, For the Union Dead. John Keats, Ode to Autumn. Anne Bradstreet, In Memory of My Dear Grandchild, Elizabeth. Bradstreet, Who Deceased August 1665, Being a Year and Half Old. Anne Bradstreet, Here Followes Some Verses upon The Burning of Our House, July 10, 1666. Chidiock Tichborne, Elegy Written with His Own Hand in The Towe before His Execution. Theodore Roethke, Elegy for Jane. Seamus Heaney, Punishment. Louise Erdrich, Dear John Wayne. Langston Hughes, Night Funeral in Harlem. Emily Dickinson, [I like a look of Agony]. Emily Dickinson, [ After great pain, a formal feeling comes-]. John Updike, Dogs Death. Drama: Sophocles, Antigone. 17. The Production and Reproduction of Texts. How Does Retelling and Revising the Impact My Experience of a Text? How can Literary Theory Clarify What Constitutes That Experience? Texts and Technology. Textual Form and Conditions of Production. Experiencing Literature through Issues of Production. William Blake, A Poison Tree. An Orientation to Contemporary Critical Theory. New criticism and auteur theory. Deconstruction. New Historicism and other historically grounded approaches. Why We Study the Texts We Study. Experiencing Literature through Theory. from Major Writers of America. from Heath Anthology of American Literature. A NOTE TO ALL STUDENT WRITERS: Using Theory to Develop Critical. Analysis. Abridging, Revising, and Repacking Text. Oliver Twist. Oliver Twist. Experiencing Literature through Issues of Production and Reproduction of Texts. Mark Twain, from Adventures of Hukleberry Finn. Translations, Subtitles, and Dubbing. from Lost in Translation [screenplay]. Modeling Critical Analysis: Tom Stoppard, The Fifteen Minute Hamlet. 18. An Orientation to Research. Why should I Use Sources? How Do I Use Them? What Material Document? Why We Use Sources. Shaping a Topic. How to Find Sources. Giving Appropriate Credit: The Issue of Plagiarism. David Sumner (Jones), Someone Forgotten (plagiarized). Neal Bowers, Ten-Year Elegy. Experiencing Literature through Considerations of Plagiarism. Plutarch, from Lives of the Noble Grecians and Romans. William Shakespeare, from Julius Caesar. Integrating Sources into Writing: What We Document. Quotation, paraphrases, and summary. Distinct insights and common observations. Common Knowledge. How to Cite. Parenthetical references in the text. The Works Cited list. Appendix A: Student Model Essay Collection. Appendix B: Collection of Poet Biographies. Appendix C: Alternate Contents by Genre. Glossary.