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Fiction Anthology Essay

Fiction Anthology Essay

To meet the learning objectives for this topic, you will complete these activities. Print this page and use it as a checklist.

Review the Introduction and Objectives page.
Read the Assignment: Fiction Essay page.
Read selections from the textbook, Chapters 27-30, in the Writing About Literature section, pages 1890-1906.
Research using the Lib Guide found in the file Research using the Sinclair Library & MLA Guidelines found in the Course Directions folder.
Complete all activities on the Learning Activities page.
Submit your Fiction Essay to the dropbox.
· Read in your textbook

Read from text chapters, in the Writing About Literature section, pages 1890-1906.

All of chapters 27-32 may be useful to your writing process. From the above assigned reading of chapters 28-30, read selectively based on your prior knowledge of headings covered. All students should closely read ideas related to topics, thesis statements, and claims, found on pages 1892 and beyond. This section contains most of the things teachers write on finished essays as critiques while grading.

Because you will incorporate some sources into your essay (though it will not be a full research-based essay), consider how sources can help you with your essay development on pages 1923-1933.

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T H E N O RTO N I N T R O D U C T I O N TO

LITERATURE S H O R T E R T W E L F T H E D I T I O N

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T H E N O RTO N I N T RO DU C TIO N TO

LITERATURE S H O R T E R T W E L F T H E D I T I O N

KELLY J. MAYS U N I V E R S I T Y O F N E V A D A , L A S V E G A S

B W . W . N O R T O N & C O M P A N Y N e w Y o r k , L o n d o n

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W. W. Norton & Company has been in de pen dent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton fi rst published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The fi rm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By mid- century, the two major pillars of Norton’s publishing program— trade books and college texts— were fi rmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today— with a staff of four hundred and a comparable number of trade, college, and professional titles published each year— W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees.

Editor: Spencer Richardson- Jones Project Editor: Christine D’Antonio Associate Editor: Emily Stuart Editorial Assistant: Rachel Taylor Manuscript Editor: Jude Grant Managing Editor, College: Marian Johnson Managing Editor, College Digital Media: Kim Yi Production Manager: Ashley Horna Media Editor: Carly Fraser Doria Assistant Media Editor: Cara Folkman Media Editorial Assistant: Ava Bramson Marketing Manager, Literature: Kimberly Bowers Design Director: Rubina Yeh Book Designer: Jo Anne Metsch Photo Editor: Evan Luberger Photo Research: Julie Tesser Permissions Manager: Megan Schindel Permissions Clearer: Margaret Gorenstein Composition: Westchester Book Group Manufacturing: LSC Communications

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The Library of Congress has cataloged an earlier edition as follows: Library of Congress Cataloging- in- Publication Data The Norton Introduction to Lit er a ture / [edited by] Kelly J. Mays, University Of Nevada, Las Vegas. — Shorter Twelfth Edition. pages cm Includes bibliographical references and index. ISBN 978-0-393-93892-0 (pbk. : alk. paper) 1. Lit er a ture— Collections. I. Mays, Kelly J., editor. PN6014.N67 2016 808.8— dc23

2015034604

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v

Contents

Preface for Instructors xxv

Introduction 1

What Is Literature? 1

What Does Literature Do? 3

John Keats, On First Looking into Chapman’s Homer 4 What Are the Genres of Literature? 4

Why Read Literature? 6

Why Study Literature? 8

Fiction 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 Shabbat (from Persepolis) 20

WRITING ABOUT FICTION 31

Raymond Carver, Cathedral 32 SAMPLE WRITING: Wesley Rupton, Notes on Raymond Carver’s

“Cathedral” 43

SAMPLE WRITING: Wesley Rupton, Response Paper on Raymond Carver’s “Cathedral” 46

SAMPLE WRITING: Bethany Qualls, A Narrator’s Blindness in Raymond Carver’s “Cathedral” 49

TELLING STORIES: AN ALBUM 53

Sherman Alexie, Flight Patterns 54 Grace Paley, A Conversation with My Father 67

AUTHORS ON THEIR WORK: Grace Paley 72

tim o’brien, The Lives of the Dead 72

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UNDERSTANDING THE TEXT 85

1 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” 139

INITIATION STORIES: AN ALBUM 145

Toni Cade Bambara, 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

James Joyce, Araby 168

2 NARRATION AND POINT OF VIEW 174 Edgar Allan Poe, The Cask of Amontillado 178 Jamaica Kincaid, Girl 184 George Saunders, Puppy 186

AUTHORS ON THEIR WORK: George Saunders 192

jennifer egan, Black Box 193 AUTHORS ON THEIR WORK: Jennifer Egan 216

3 CHARACTER 218 William Faulkner, Barn Burning 225 Toni Morrison, Recitatif 238

AUTHORS ON THEIR WORK: Toni Morrison 252

David Foster Wallace, Good People 253

MONSTERS: AN ALBUM 261

Margaret Atwood, Lusus Naturae 262 Karen Russell, St. Lucy’s Home for Girls Raised by Wolves 267 jorge luis borges, The House of Asterion 279

AUTHORS ON THEIR WORK: Jorge Luis Borges 282

4 SETTING 284 Italo Calvino, from Invisible Cities 286 Margaret Mitchell, from Gone with the Wind 286

vi CONTENTS

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Alice Randall, from Wind Done Gone 288 Anton Chekhov, The Lady with the Dog 290 Amy Tan, A Pair of Tickets 302 Judith Ortiz Cofer, Volar 316 william gibson, The Gernsback Continuum 318

AUTHORS ON THEIR WORK: William Gibson 327

SAMPLE WRITING: Steven Matview, How Setting Reflects Emotions in Anton Chekhov’s “The Lady with the Dog” 329

5 SYMBOL AND FIGURATIVE LANGUAGE 334 Nathaniel Hawthorne, The Birth- Mark 339 A. S. Byatt, The Thing in the Forest 351 Edwidge Danticat, A Wall of Fire Rising 366

SAMPLE WRITING: Charles Collins, Symbolism in “The Birth- Mark” and “The Thing in the Forest” 379

6 THEME 383 Aesop, The Two Crabs 383 Stephen Crane, The Open Boat 387 Gabriel García Márquez, A Very Old Man with Enormous

Wings: A Tale for Children 405 Yasunari Kawabata, The Grasshopper and the

Bell Cricket 410 junot díaz, Wildwood 413

CROSS- CULTUR AL ENCOUNTERS: AN ALBUM 431

Bharati Mukherjee, The Management of Grief 432 AUTHORS ON THEIR WORK: Bharati Mukherjee 445

Jhumpa Lahiri, Interpreter of Maladies 446 AUTHORS ON THEIR WORK: Jhumpa Lahiri 461

David Sedaris, Jesus Shaves 462

EXPLORING CONTEXTS 467

7 THE AUTHOR’S WORK AS CONTEXT: FLANNERY O’CONNOR 467

THREE STORIES BY FLANNERY O’CONNOR 470

A Good Man Is Hard to Find 470 Good Country People 481 Everything That Rises Must Converge 495

CONTENTS v ii

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PASSAGES FROM FLANNERY O’CONNOR’S ESSAYS AND LETTERS 506

CRITICAL EXCERPTS 510

Mary Gordon, from Flannery’s Kiss 510 Ann E. Reuman, from Revolting Fictions: Flannery O’Connor’s

Letter to Her Mother 513 Eileen Pollack, from Flannery O’Connor and the New

Criticism 516

8 CULTURAL AND HISTORICAL CONTEXTS: WOMEN IN TURN- OF- THE- CENTURY AMERICA 519

Kate Chopin, The Story of an Hour 523 Charlotte Perkins Gilman, The Yellow Wallpaper 526 Susan Glaspell, A Jury of Her Peers 537

CONTEXTUAL EXCERPTS 554

Charlotte Perkins Gilman, from Similar Cases 554 from Women and Economics 555

Barbara Boyd, from Heart and Home Talks: Politics and Milk 556 Mrs. Arthur Lyttelton, from Women and Their Work 556 Rheta Childe Dorr, from What Eight Million Women Want 557 The New York Times, from Mrs. Delong Acquitted 558 The Washington Post, from The Chances of Divorce 558 Charlotte Perkins Gilman, from Why I Wrote “The Yellow

Wall-paper” 559 The Washington Post, The Rest Cure 559

from Egotism of the Rest Cure 559

9 CRITICAL CONTEXTS: TIM O’BRIEN’S “THE THINGS THEY CARRIED” 562

tim o’brien, The Things They Carried 564

CRITICAL EXCERPTS 577

steven kaplan, The Undying Uncertainty of the Narrator in Tim O’Brien’s The Things They Carried 577

lorrie n. smith, “The Things Men Do”: The Gendered Subtext in Tim O’Brien’s Esquire Stories 582

susan farrell, Tim O’Brien and Gender: A Defense of The Things They Carried 592

viii CONTENTS

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READING MORE FICTION 599

Ambrose Bierce, An Occurrence at Owl Creek Bridge 599 Ralph Ellison, King of the Bingo Game 605 louise erdrich, Love Medicine 612 william faulkner, A Rose for Emily 628 Ernest Hemingway, Hills Like White Elephants 634 franz kafka, A Hunger Artist 638 Bobbie Ann Mason, Shiloh 645 guy de maupassant, The Jewelry 655 Herman Melville, Bartleby, the Scrivener: A Story of Wall

Street 661 Eudora Welty, Why I Live at the P.O. 687

Poetry POETRY: READING, RESPONDING, WRITING 698

DEFINING POETRY 699

Lydia Davis, Head, Heart 700 AUTHORS ON THEIR CR AF T: Billy Collins 701

POETIC SUBGENRES AND KINDS 702

Edwin Arlington Robinson, Richard Cory 703 Thomas Hardy, The Ruined Maid 704 William Wordsworth, [I wandered lonely as

a cloud] 705 Frank O’Hara, Poem [Lana Turner has collapsed] 706 Phillis Wheatley, On Being Brought from Africa

to America 707 Emily Dickinson, [The Sky is low— the Clouds are mean] 708 Billy Collins, Divorce 708 Bruce Springsteen, Nebraska 709 Robert Hayden, A Letter from Phillis Wheatley 710

RESPONDING TO POETRY 712

Aphra Behn, On Her Loving Two Equally 712

WRITING ABOUT POETRY 719

SAMPLE WRITING: Names in “On Her Loving Two Equally” 720

SAMPLE WRITING: Multiplying by Dividing in Aphra Behn’s “On Her

Loving Two Equally” 722

CONTENTS ix

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THE ART OF (READING) POETRY: AN ALBUM 727

Emily Dickinson, [I dwell in Possibility—] 727 Archibald MacLeish, Ars Poetica 728 Czeslaw Milosz, Ars Poetica? 729

AUTHORS ON THEIR WORK: Czeslaw Milosz 730

Elizabeth Alexander, Ars Poetica #100: I Believe 730 Marianne Moore, Poetry 731 Julia Alvarez, “Poetry Makes Nothing Happen”? 732 Billy Collins, Introduction to Poetry 733

UNDERSTANDING THE TEXT 735

10 SPEAKER: WHOSE VOICE DO WE HEAR? 735 NARRATIVE POEMS AND THEIR SPEAKERS 735

X. J. Kennedy, In a Prominent Bar in Secaucus One Day 735

SPEAKERS IN THE DRAMATIC MONOLOGUE 737

Robert Browning, Soliloquy of the Spanish Cloister 737

THE LYRIC AND ITS SPEAKER 739

Margaret Atwood, Death of a Young Son by Drowning 740 AUTHORS ON THEIR CR AF T: Billy Collins and Sharon Olds 741

William Wordsworth, She Dwelt among the Untrodden Ways 742

Dorothy Parker, A Certain Lady 742

POEMS FOR FURTHER STUDY 743

Walt Whitman, [I celebrate myself, and sing myself ] 743 langston hughes, Ballad of the Landlord 744 E. E. Cummings, [next to of course god america i] 745 Gwendolyn Brooks, We Real Cool 745

AUTHORS ON THEIR WORK: Gwendolyn Brooks 746

lucille clifton, cream of wheat 746

EXPLORING GENDER: AN ALBUM 749

Richard Lovelace, Song: To Lucasta, Going to the Wars 750 Mary, Lady Chudleigh, To the Ladies 750 Wilfred Owen, Disabled 751 Elizabeth Bishop, Exchanging Hats 752 David Wagoner, My Father’s Garden 753 Judith Ortiz Cofer, The Changeling 754 Marie Howe, Practicing 755

AUTHORS ON THEIR WORK: Marie Howe 756

x CONTENTS

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Terrance Hayes, Mr. T— 757 Bob Hicok, O my pa- pa 758 stacey waite, The Kind of Man I Am at the DMV 759

11 SITUATION AND SETTING: WHAT HAPPENS? WHERE? WHEN? 761 SITUATION 762

Rita Dove, Daystar 762 Linda Pastan, To a Daughter Leaving Home 762

THE CARPE DIEM POEM 763

John Donne, The Flea 764 Andrew Marvell, To His Coy Mistress 764

SETTING 766

Matthew Arnold, Dover Beach 766

THE OCCASIONAL POEM 767

Martín Espada, Litany at the Tomb of Frederick Douglass 768 AUTHORS ON THEIR WORK: Martín Espada 769

THE AUBADE 769

John Donne, The Good- Morrow 770 Jonathan Swift, A Description of the Morning 770

ONE POEM, MULTIPLE SITUATIONS AND SETTINGS 771

Li- Young Lee, Persimmons 771

ONE SITUATION AND SETTING, MULTIPLE POEMS 773

christopher marlowe, The Passionate Shepherd to His Love 774

sir walter raleigh, The Nymph’s Reply to the Shepherd 774 anthony hecht, The Dover Bitch 775

POEMS FOR FURTHER STUDY 776

Natasha Trethewey, Pilgrimage 776 kelly cherry, Alzheimer’s 777 mahmoud darwish, Identity Card 778 yehuda amichai, [On Yom Kippur in 1967 . . .] 780 yusef komunyakaa, Tu Do Street 780

AUTHORS ON THEIR WORK: Yusef Komunyakaa 782

HOMELANDS: AN ALBUM 785

Maya Angelou, Africa 785 AUTHORS ON THEIR WORK: Maya Angelou 786

Derek Walcott, A Far Cry from Africa 786 AUTHORS ON THEIR WORK: Derek Walcott 788

CONTENTS xi

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Judith Ortiz Cofer, The Latin Deli: An Ars Poetica 789 Cathy Song, Heaven 790 Agha Shahid Ali, Postcard from Kashmir 791 adrienne su, Escape from the Old Country 792

12 THEME AND TONE 794 TONE 794

W. D. Snodgrass, Leaving the Motel 795 THEME 796

Maxine Kumin, Woodchucks 796 Adrienne Rich, Aunt Jennifer’s Tigers 797

AUTHORS ON THEIR WORK: Adrienne Rich 798

THEME AND CONFLICT 799

adrienne su, On Writing 800 authors on their work: Adrienne Su 801

POEMS FOR FURTHER STUDY 801

William Blake, London 801 Paul Laurence Dunbar, Sympathy 802 W. H. Auden, [Stop all the clocks, cut off the telephone] 802 Sharon Olds, Last Night 803 Kay Ryan, Repulsive Theory 804 terrance hayes, Carp Poem 805 c. k. williams, The Economy Rescued by My Mother

Returning to Shop 806 SAMPLE WRITING: Stephen Bordland, Response Paper on

W. H. Auden’s “Stop all the clocks, cut off the telephone” 809

FAMILY: AN ALBUM 813

simon j. ortiz, My Father’s Song 813 Robert Hayden, Those Winter Sundays 814 ellen bryant voigt, My Mother 814 martín espada, Of the Threads That Connect the Stars 816 Emily Grosholz, Eden 816 philip larkin, This Be the Verse 817

authors on their work: Philip Larkin 818 Jimmy Santiago Baca, Green Chile 818 paul martinez pompa, The Abuelita Poem 819 charlie smith, The Business 820 Andrew Hudgins, Begotten 821

xii CONTENTS

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13 LANGUAGE: WORD CHOICE AND ORDER 822 PRECISION AND AMBIGUITY 822

Sarah Cleghorn, [The golf links lie so near the mill] 822 martha collins, Lies 823

DENOTATION AND CONNOTATION 823

Walter de la Mare, Slim Cunning Hands 824 Theodore Roethke, My Papa’s Waltz 825

WORD ORDER AND PLACEMENT 825

Sharon Olds, Sex without Love 827 AUTHORS ON THEIR WORK: Sharon Olds 828

POEMS FOR FURTHER STUDY 828

gerard manley hopkins, Pied Beauty 828 William Carlos Williams, The Red Wheelbarrow 829

This Is Just to Say 829 AUTHORS ON THEIR WORK: William Carlos Williams 830

Kay Ryan, Blandeur 831 martha collins, [white paper #24] 831 a. e. stallings, Shoulda, Woulda, Coulda 832

14 VISUAL IMAGERY AND FIGURES OF SPEECH 834 Richard Wilbur, The Beautiful Changes 835 Lynn Powell, Kind of Blue 836

META PHOR 837

William Shakespeare, [That time of year thou mayst in me behold] 837

Linda Pastan, Marks 838

PERSONIFICATION 838

Emily Dickinson, [Because I could not stop for Death—] 839

SIMILE AND ANALOGY 839

Robert Burns, A Red, Red Rose 840 todd boss, My Love for You Is So Embarrassingly 840

ALLUSION 841

amit majmudar, Dothead 842 patricia lockwood, What Is the Zoo for What 842

POEMS FOR FURTHER STUDY 844

William Shakespeare, [Shall I compare thee to a summer’s day?] 844

Anonymous, The Twenty- Third Psalm 845 John Donne, [Batter my heart, three- personed God] 845

CONTENTS xiii

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Randall Jarrell, The Death of the Ball Turret Gunner 846 john brehm, Sea of Faith 846

15 SYMBOL 848 THE INVENTED SYMBOL 848

James Dickey, The Leap 849

THE TRADITIONAL SYMBOL 851

Edmund Waller, Song 851 Dorothy Parker, One Perfect Rose 852

THE SYMBOLIC POEM 853

William Blake, The Sick Rose 853

POEMS FOR FURTHER STUDY 854

john keats, Ode to a Nightingale 854 robert frost, The Road Not Taken 856 Howard Nemerov, The Vacuum 857 Adrienne Rich, Diving into the Wreck 858 Roo Borson, After a Death 860 Brian Turner, Jundee Ameriki 860

AUTHORS ON THEIR WORK: Brian Turner 861

sharon olds, Bruise Ghazal 862

16 THE SOUNDS OF POETRY 863 RHYME 863

ONOMATOPOEIA, ALLITERATION, ASSONANCE, AND

CONSONANCE 865

alexander pope, from The Rape of the Lock 866 SOUND POEMS 866

Helen Chasin, The Word Plum 867 Kenneth Fearing, Dirge 867 Alexander Pope, Sound and Sense 868

POETIC METER 871

Samuel Taylor Coleridge, Metrical Feet 873 Anonymous, [There was a young girl from St. Paul] 875 Alfred, Lord Tennyson, from The Charge of the

Light Brigade 875 jane taylor, The Star 876 anne bradstreet, To My Dear and Loving Husband 877 jessie pope, The Call 877 wilfred owen, Dulce et Decorum Est 878

xiv CONTENTS

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POEMS FOR FURTHER STUDY 879

William Shakespeare, [Like as the waves make towards the pebbled shore] 879

GeraRd Manley Hopkins, Spring and Fall 880 walt whitman, Beat! Beat! Drums! 880 kevin young, Ode to Pork 881

WORD AND MUSIC: AN ALBUM 885

Thomas Campion, When to Her Lute Corinna Sings 885 Anonymous, Sir Patrick Spens 886 dudley randall, Ballad of Birmingham 887 Augustus Montague Toplady, A Prayer, Living

and Dying 888 Robert Hayden, Homage to the Empress of the Blues 889 Michael Harper, Dear John, Dear Coltrane 890 bob dylan, The Times They Are A- Changin’ 891 linda pastan, Listening to Bob Dylan, 2005 892 Mos Def, Hip Hop 893 jose b. gonzalez, Elvis in the Inner City 895

17 INTERNAL STRUCTURE 897 DIVIDING POEMS INTO “PARTS” 897

Pat Mora, Sonrisas 897

INTERNAL VERSUS EXTERNAL OR FORMAL “PARTS” 899

Galway Kinnell, Blackberry Eating 899

LYRICS AS INTERNAL DRAMAS 899

Seamus Heaney, Punishment 900 Samuel Taylor Coleridge, Frost at Midnight 902 Sharon Olds, The Victims 904

MAKING ARGUMENTS ABOUT STRUCTURE 905

POEMS WITHOUT “PARTS” 905

Walt Whitman, I Hear America Singing 905

POEMS FOR FURTHER STUDY 906

William Shakespeare, [Th’ expense of spirit in a waste of shame] 906

Percy Bysshe Shelley, Ode to the West Wind 907 Philip Larkin, Church Going 909

AUTHORS ON THEIR WORK: Philip Larkin 911 katie ford, Still- Life 912

CONTENTS xv

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kevin young, Greening 912 SAMPLE WRITING: Lindsay Gibson, Philip Larkin’s

“Church Going” 914

18 EXTERNAL FORM 918 STANZAS 918

TRADITIONAL STANZA FORMS 918

richard wilbur, Terza Rima 919 TRADITIONAL VERSE FORMS 920

FIXED FORMS OR FORM- BASED SUBGENRES 921

TRADITIONAL FORMS: POEMS FOR FURTHER STUDY 922

Dylan Thomas, Do Not Go Gentle into That Good Night 922 Natasha Trethewey, Myth 923 Elizabeth Bishop, Sestina 923 Ciara Shuttleworth, Sestina 925 E. E. Cummings, [l(a] 926

[Buffalo Bill’s] 926

CONCRETE POETRY 927

George Herbert, Easter Wings 927 May Swenson, Women 928

THE SONNET: AN ALBUM 931

francesco Petrarch, [Upon the breeze she spread her golden hair] 932

Henry Constable, [My lady’s presence makes the roses red] 933 William Shakespeare, [My mistress’ eyes are nothing like

the sun] 933 [Not marble, nor the gilded monuments] 934 [Let me not to the marriage of true minds] 934

John Milton, [When I consider how my light is spent] 935 William Wordsworth, Nuns Fret Not 935 Elizabeth Barrett Browning, How Do I Love Thee? 936 Christina Rossetti, In an Artist’s Studio 936 Edna St. Vincent Millay, [What lips my lips have kissed,

and where, and why] 937 [Women have loved before as I love now] 937 [I, being born a woman and distressed] 937 [I will put Chaos into fourteen lines] 938

Robert Frost, Range- Finding 938 Design 939

xv i CONTENTS

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Gwendolyn Brooks, First Fight. Then Fiddle. 939 Gwen Harwood, In the Park 940 June Jordan, Something Like a Sonnet for Phillis

Miracle Wheatley 940 Billy Collins, Sonnet 941 harryette mullen, Dim Lady 941 sherman alexie, The Facebook Sonnet 942

HAIKU: AN ALBUM 945

Chiyojo, [Whether astringent] 945 Basho, [A village without bells—] 946

[This road —] 946 Buson, [Coolness—] 946

[Listening to the moon] 946 Lafcadio Hearn, [Old pond —] 946 Clara A. Walsh, [An old- time pond] 946 Earl Miner, [The still old pond] 947 Allen Ginsberg, [The old pond] 947 ezra pound, In a Station of the Metro 947 allen ginsberg, [Looking over my shoulder] 947 richard wright, [In the falling snow] 947 Etheridge Knight, from [Eastern guard tower] 948

[The falling snow flakes] 948 [Making jazz swing in] 948 AUTHORS ON THEIR WORK: Etheridge Knight 948

Mark Jarman, Haiku 949 Sonia Sanchez, from 9 Haiku 949 sue standing, Diamond Haiku 949 linda pastan, In the Har- Poen Tea Garden 950

EXPLORING CONTEXTS 952

19 THE AUTHOR’S WORK AS CONTEXT: ADRIENNE RICH 954 POEMS BY ADRIENNE RICH 958

At a Bach Concert 958 Storm Warnings 958 Living in Sin 959 Snapshots of a Daughter- in- Law 959 AUTHORS ON THEIR WORK: Adrienne Rich 963

Planetarium 964 For the Record 965

CONTENTS xv ii

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[My mouth hovers across your breasts] 966 History 966 Transparencies 967 To night No Poetry Will Serve 968

PASSAGES FROM RICH’S ESSAYS 969

from When We Dead Awaken: Writing as Re- Vision 969 from A Communal Poetry 970 from Why I Refused the National Medal for the Arts 971 from Poetry and the Forgotten Future 974 SAMPLE WRITING: Melissa Makolin , Out- Sonneting Shakespeare:

An Examination of Edna St. Vincent Millay’s Use of the Sonnet

Form 981

EMILY DICKINSON: AN ALBUM 987

[Tell all the truth but tell it slant—] 988 [I stepped from Plank to Plank] 988 [Wild Nights—Wild Nights!] 989 [My Life had stood— a Loaded Gun—] 989 [After great pain, a formal feeling comes—] 990 [A narrow Fellow in the Grass] 990 Wendy Cope, Emily Dickinson 991 Hart Crane, To Emily Dickinson 991 Billy Collins, Taking Off Emily Dickinson’s Clothes 992

W. B. YEATS: AN ALBUM 997

The Lake Isle of Innisfree 999 AUTHORS ON THEIR WORK: W. B. Yeats 1000

All Things Can Tempt Me 1000 Easter 1916 1001 The Second Coming 1003 Leda and the Swan 1004 Sailing to Byzantium 1004 W. H. Auden, In Memory of W. B. Yeats 1006

AUTHORS ON THEIR WORK: W. H. Auden 1008

PAT MOR A: AN ALBUM 1013

Elena 1014 Gentle Communion 1015 Mothers and Daughters 1015 La Migra 1016 Ode to Adobe 1017

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20 THE AUTHOR’S WORK AS CONTEXT: WILLIAM BLAKE’S SONGS OF INNOCENCE AND OF EXPERIENCE 1021

color insert: Facsimile Pages from SONGS OF INNOCENCE AND OF EXPERIENCE faces 1021

WILLIAM BLAKE’S SONGS OF INNOCENCE AND OF EXPERIENCE 1022

songs of innocence, Introduction 1023 The Ecchoing Green 1023 Holy Thursday 1024 The Lamb 1024 The Chimney Sweeper 1025

songs of experience, Introduction 1026 The Tyger 1026 The Garden of Love 1027 The Chimney Sweeper 1027 Holy Thursday 1027

21 CULTURAL AND HISTORICAL CONTEXTS: THE HARLEM RE NAIS SANCE 1031

POEMS OF THE HARLEM RE NAIS SANCE 1040

Arna Bontemps, A Black Man Talks of Reaping 1040 Countee Cullen, Yet Do I Marvel 1041

Saturday’s Child 1041 From the Dark Tower 1042

AngElina Grimké, The Black Finger 1042 Tenebris 1043

Langston Hughes, Harlem 1043 The Weary Blues 1043 The Negro Speaks of Rivers 1044 I, Too 1045

Helene Johnson, Sonnet to a Negro in Harlem 1046 Claude McKay, Harlem Shadows 1046

If We Must Die 1047 The Tropics in New York 1047 The Harlem Dancer 1047 The White House 1048

CONTEXTUAL EXCERPTS 1048

James Weldon Johnson, from the preface to The Book of American Negro Poetry 1048

Alain Locke, from The New Negro 1050 Rudolph Fisher, from The Caucasian Storms Harlem 1054

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W. E. B. Du Bois, from Two Novels 1058 Zora Neale Hurston, How It Feels to Be Colored Me 1059 Langston Hughes, from The Big Sea 1062

SAMPLE WRITING: Irene Morstan, “They’ll See How Beautiful I Am”: “I, Too” and the Harlem Re nais sance 1067

22 CRITICAL CONTEXTS: SYLVIA PLATH’S “DADDY” 1072 Sylvia Plath, Daddy 1073

CRITICAL EXCERPTS 1077

George Steiner, from Dying Is an Art 1077 A. Alvarez, from Sylvia Plath 1080 Irving Howe, from The Plath Celebration: A Partial Dissent 1081 Judith Kroll, from Rituals of Exorcism: “Daddy” 1083 Mary Lynn Broe, from Protean Poetic 1084 Margaret Homans, from A Feminine Tradition 1086 Pamela J. Annas, from A Disturbance in Mirrors 1087 Steven Gould Axelrod, from Sylvia Plath: The Wound

and the Cure of Words 1089 Laura Frost, from “Every Woman Adores a Fascist”:

Feminist Visions of Fascism from Three Guineas to Fear of Flying 1096

READING MORE POETRY 1102

W. H. Auden, Musée des Beaux Arts 1102 Robert Browning, My Last Duchess 1103 Samuel Taylor Coleridge, Kubla Khan 1104 E. E. Cummings, [in Just-] 1105 John Donne, [Death, be not proud] 1106

Song 1107 The Sun Rising 1107 A Valediction: Forbidding Mourning 1108

Paul Laurence Dunbar, We Wear the Mask 1109 T. S. Eliot, The Love Song of J. Alfred Prufrock 1110 Robert Frost, Home Burial 1113

Stopping by Woods on a Snowy Eve ning 1116 Seamus Heaney, Digging 1116 Gerard Manley Hopkins, God’s Grandeur 1117

The Windhover 1118 Ben Jonson, On My First Son 1118 John Keats, Ode on a Grecian Urn 1119