In a prominent bar in secaucus one day tone

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.

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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.

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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

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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

xviii CONTENTS

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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

CONTENTS xix

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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

To Autumn 1120

xx CONTENTS

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etheridge knight, Hard Rock Returns to Prison from the Hospital for the Criminal Insane 1121

yusef komunyakaa, Facing It 1122 AUTHORS ON THEIR WORK: Yusef Komunyakaa 1123

Linda Pastan, love poem 1123 marge piercy, Barbie Doll 1124 sylvia plath, Lady Lazarus 1125

Morning Song 1127 edgar allan poe, The Raven 1127 ezra pound, The River- Merchant’s Wife: A Letter 1130 Wallace Stevens, Anecdote of the Jar 1131

The Emperor of Ice- Cream 1131 Alfred, Lord Tennyson, Tears, Idle Tears 1132

Ulysses 1132 Walt Whitman, Facing West from California’s Shores 1134

A Noiseless Patient Spider 1134 richard wilbur, Love Calls Us to the Things of

This World 1135 William Carlos Williams, The Dance 1136 William Wordsworth, [The world is too much with us] 1136

BIOGRAPHICAL SKETCHES: POETS 1137

Drama DRAMA: READING, RESPONDING, WRITING 1152

READING DRAMA 1152

Susan Glaspell, Trifles 1155

RESPONDING TO DRAMA 1165

SAMPLE WRITING: Annotation of Trifles 1165 SAMPLE WRITING: Reading Notes 1168

WRITING ABOUT DRAMA 1171

SAMPLE WRITING: jessica zezulka, Trifles Plot Response Paper 1173

SAMPLE WRITING: stephanie orteGa , A Journey of Sisterhood 1175

UNDERSTANDING THE TEXT 1178

23 ELEMENTS OF DRAMA 1178 August Wilson, Fences 1187

CONTENTS xxi

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AUTHORS ON THEIR WORK : August Wilson 1239

quiara alegrÍa hudes, Water by the Spoonful 1239

EXPLORING CONTEXTS 1288

24 THE AUTHOR’S WORK AS CONTEXT: WILLIAM SHAKESPEARE 1288

THE LIFE OF SHAKESPEARE: A BIOGRAPHICAL MYSTERY 1288

EXPLORING SHAKESPEARE’S WORK: A MIDSUMMER NIGHT’S DREAM

AND HAMLET 1290

A Midsummer Night’s Dream 1294 Hamlet 1350

25 CULTURAL AND HISTORICAL CONTEXTS: LORRAINE HANSBERRY’S RAISIN IN THE SUN 1446

Lorraine Hansberry, A Raisin in the Sun 1456 AUTHORS ON THEIR WORK: Lorraine Hansberry 1520

CONTEXTUAL EXCERPTS 1523

Richard Wright, from Twelve Million Black Voices 1523 Robert Gruenberg, from Chicago Fiddles While Trumbull

Park Burns 1527 Gertrude Samuels, from Even More Crucial Than in the

South 1529 Wilma Dykeman and James Stokely, from New Southerner:

The Middle-Class Negro 1532 Martin Luther King, Jr., from Letter from Birmingham

Jail 1534 Robert C. Weaver, from The Negro as an American 1536 Earl E. Thorpe, from Africa in the Thought of Negro

Americans 1540 Phaon Goldman, from The Significance of African Freedom

for the Negro American 1541 Bruce Norris, from Clybourne Park 1544

26 CRITICAL CONTEXTS: SOPHOCLES’S ANTIGONE 1549 Sophocles, Antigone 1551

CRITICAL EXCERPTS 1584

Richard c. Jebb, from The Antigone of Sophocles 1584 Maurice Bowra, from Sophoclean Tragedy 1585 Bernard Knox, from Introduction to Antigone 1587

xxii CONTENTS

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Martha c. Nussbaum, from Sophocles’ Antigone: Conflict, Vision, and Simplification 1594

Philip Holt, from Polis and the Tragedy in the Antigone 1599 SAMPLE WRITING: Jackie Izawa, The Two Faces of Antigone 1609

READING MORE DRAMA 1616

Anton Chekhov, The Cherry Orchard 1616 henrik ibsen, A Doll House 1654 Jane Martin, Two Monologues from Talking With . . . 1704 Arthur Miller, Death of a Salesman 1709

AUTHORS ON THEIR WORK: Arthur Miller 1776

Sophocles, Oedipus the King 1777 Tennessee Williams, A Streetcar Named Desire 1817

WRITING ABOUT LITERATURE 1885

27 BASIC MOVES: PARAPHRASE, SUMMARY, AND DESCRIPTION 1886

28 THE LITERATURE ESSAY 1890

29 THE WRITING PRO CESS 1910

30 THE LITERATURE RESEARCH ESSAY 1923

31 QUOTATION, CITATION, AND DOCUMENTATION 1934

32 SAMPLE RESEARCH ESSAY sarah Roberts , “Only a Girl”? Gendered Initiation in

Alice Munro’s “Boys and Girls” 1961

CRITICAL APPROACHES 1971

GLOSSARY A1

Permissions Acknowledgments A15

Index of Authors A31

Index of Titles and First Lines A37

Index of Literary Terms A45

CONTENTS xxiii

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xxv

Preface for Instructors

Like its pre de ces sors, this Twelfth Edition of The Norton Introduction to Litera- ture offers in a single volume a complete course in reading literature and writing about it. A teaching anthology focused on the actual tasks, challenges, and ques- tions typically faced by students and instructors, The Norton Introduction to Lit- erature offers practical advice to help students transform their fi rst impressions of literary works into fruitful discussions and meaningful critical essays, and it helps students and instructors together tackle the complex questions at the heart of literary study.

The Norton Introduction to Literature has been revised with an eye to provid- ing a book that is as fl exible and as useful as possible—adaptable to many dif- ferent teaching styles and individual preferences—and that also conveys the excitement at the heart of literature itself.

FEATURES OF THE NORTON INTRODUCTION TO LITERATURE

Although this Twelfth Edition contains much that is new or refashioned, the essential features of the text have remained consistent over many editions:

Diverse selections with broad appeal

Because readings are the central component of any literature class, my most important task has been to select a rich array of appealing and challenging liter- ary works. Among the 58 stories, 301 poems, and 12 plays in The Norton Intro- duction to Literature, readers will fi nd selections by well- established and emerging voices alike, representing a broad range of times, places, cultural perspectives, and styles. The readings are excitingly diverse in terms of subject and style as well as authorship and national origin. In selecting and presenting literary texts, my top priorities continue to be quality as well as pedagogical relevance and usefulness. I have integrated the new with the old and the experimental with the canonical, believing that contrast and variety help students recognize and respond to the unique features of any literary work. In this way, I aim to help students and instructors alike approach the unfamiliar by way of the familiar (and vice versa).

Helpful and unobtrusive editorial matter

As always, the instructional material before and after each selection avoids dic- tating any par tic u lar interpretation or response, instead highlighting essential terms and concepts in order to make the literature that follows more accessible to student readers. Questions and writing suggestions help readers apply general

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xxv i PREFACE FOR INSTRUCTORS

concepts to specifi c readings in order to develop, articulate, refi ne, and defend their own responses. As in all Norton anthologies, I have annotated the works with a light hand, seeking to be informative but not interpretive.

An introduction to the study of literature

To introduce students to fi ction, poetry, and drama is to open up a complex fi eld of study with a long history. The Introduction addresses many of the questions that students may have about the nature of literature as well as the practice of literary criticism. By exploring some of the most compelling reasons for reading and writing about literature, much of the mystery about matters of method is cleared away, and I provide motivated students with a sense of the issues and opportunities that lie ahead as they study literature. As in earlier editions, I con- tinue to encourage student fascination with par tic u lar authors and their careers, expanding upon the featured “Authors on Their Work” boxes as well as single- author chapters and albums.

Thoughtful guidance for writing about literature

The Twelfth Edition integrates opportunities for student writing at each step of the course, highlighting the mastery of skills for students at every level. “Read- ing, Responding, Writing” sections at the beginning of each genre unit, including a thoroughly revised opener to the poetry unit, offer students concrete advice about how to transform careful reading into productive and insightful writing. Sample questions for each work or about each element (e.g., “Questions about Character”) provide exercises for answering these questions or for applying new concepts to par tic u lar works, and examples of student writing demonstrate how a student’s notes on a story or poem may be developed into a response paper or an or ga nized critical argument. New essays bring the total number of examples of student writing to seventeen.

The constructive, step- by- step approach to the writing pro cess is thoroughly demonstrated in several chapters called “Writing about Literature.” As in the chapters introducing concepts and literary selections, the fi rst steps presented in the writing section are simple and straightforward, outlining the basic formal ele- ments common to essays—thesis, structure, and so on. Following these steps encourages students to approach the essay both as a distinctive genre with its own elements and as an accessible form of writing with a clear purpose. From here, I walk students through the writing pro cess: how to choose a topic, gather evidence, and develop an argument; the methods of writing a research essay; and the mechanics of effective quotation and responsible citation and documentation. New, up- to- date material on using the Internet for research has been included. Also featured is a sample research paper that has been annotated to call attention to important features of good student writing.

Even more resources for student writers are available at the free student website, LitWeb, described below.

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PREFACE FOR INSTRUCTORS xxv ii

A comprehensive approach to the contexts of literature

The Twelfth Edition not only offers expanded resources for interpreting and writing about literature, but it also extends the perspectives from which students can view par tic u lar authors and works. One of the greatest strengths of The Nor- ton Introduction to Literature has been its exploration of the relation between literary texts and a variety of contexts. For several editions, “Author’s Work” and “Critical Contexts” chapters have served as mini- casebooks that contain a wealth of material for in- depth, context- focused reading and writing assignments. Recent editions have also been supplemented with “Cultural Contexts” chapters that explore a cultural moment or setting.

In the Twelfth Edition I have revised and expanded the current context chap- ters and added an entirely new chapter on Tim O’Brien’s seminal story, “The Things They Carried.” Other revised context chapters include an updated chapter on Adrienne Rich, featuring work from her fi nal collection of poetry and essays published shortly before her death, and re- edited excerpts from scholarly essays in the chapter on Sophocles’s Antigone, as well as general revision and updates throughout each context chapter.

The “Critical Approaches” section provides an overview of contemporary crit- ical theory and its terminology and is useful as an introduction, a refresher, or a preparation for further exploration.

A sensible and teachable or ga ni za tion

The accessible format of The Norton Introduction to Literature, which has worked so well for teachers and students for many editions, remains the same. Each genre is approached in three logical steps. Fiction, for example, is introduced by “Fiction: Reading, Responding, Writing,” which treats the purpose and nature of fi ction, the reading experience, and the steps one takes to begin writing about fi ction. This feature is followed by the six- chapter section called “Understanding the Text,” which concentrates on the genre’s key elements. The third section, “Exploring Contexts” suggests ways to embrace a work of literature by considering various literary, temporal, and cultural contexts. “Reading More Fiction,” the fi nal compo- nent in the Fiction section, is a reservoir of additional readings for in de pen dent study or a different approach. The Poetry and Drama sections, in turn, follow exactly the same or gan i za tional format as Fiction.

The book’s arrangement allows movement from narrower to broader frame- works, from simpler to more complex questions and issues, and mirrors the way people read— wanting to learn more as they experience more. At the same time, no chapter or section depends on any other, so that individual teachers can pick and choose which chapters or sections to assign and in what order.

Deep repre sen ta tion of select authors

The Norton Introduction to Literature offers a range of opportunities for in- depth study of noted authors. Author’s Work chapters on Flannery O’Connor, Adri- enne Rich, William Blake, and William Shakespeare in the “Exploring Contexts” sections substantively engage with multiple works by each author, allowing

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xxv iii PREFACE FOR INSTRUCTORS

students to make substantive connections between works from different phases of an author’s career. In addition, “albums” of multiple works by Emily Dickin- son, W. B. Yeats, and Pat Mora allow students to explore on their own a larger sampling of each poet’s work. Other chapters, such as the “Cultural and His- torical Contexts” chapters, explore the historical milieu of such works as Susan Glaspell’s “Jury of Her Peers,” Charlotte Perkins Gilman’s “The Yellow Wallpa- per,” and Kate Chopin’s “Story of An Hour,” as well as Lorraine Hansberry’s A Raisin in the Sun. “Critical Contexts” chapters in each genre section, including Tim O’Brien’s “The Things They Carried,” Sylvia Plath’s “Daddy,” and Sopho- cles’s Antigone, encourage students to delve deeper into each author’s work after they have sampled the rich and varied tradition of commentary that each author has inspired.

NEW TO THE TWELFTH EDITION

Fifty- two new selections

There are eight new stories, forty- two new poems, and two new plays in this Twelfth Edition of The Norton Introduction to Literature. You will fi nd new selections from pop u lar and canonical writers such as Tim O’Brien, August Wil- son, Toni Cade Bambara, Philip Larkin, Lucille Clifton, Langston Hughes, William Blake, Yusef Komunyakaa, and Jorge Luis Borges, as well as works by exciting new authors such as Junot Díaz, Kevin Young, Patricia Lockwood, Wil- liam Gibson, Jennifer Egan, Charlie Smith, Todd Boss, Adrienne Su, and Quiara Alegría Hudes.

Signifi cantly improved writing pedagogy

Recent editions The Norton Introduction to Literature greatly expanded and improved the resources for student writers, including thorough introductions to each genre in “Reading, Responding, Writing,” broadened online materials, and new student essays. For the Twelfth Edition, the chapters on Writing about Literature have been completely revised to be much more focused on the essen- tials moves of writing and interpretation, as well as much more coverage on the kinds of writing students are most frequently assigned. In addition, four new samples of student writing for different kinds of assignments have been added to the book, bringing the total number of such samples to eigh teen. More generally, throughout the Twelfth Edition I have thoroughly revised the writing prompts and suggestions.

A new Critical Context chapter on Tim O’Brien’s “The Things They Carried”

“The Things They Carried” is among the most widely taught works in introduc- tory literature courses, and, in order to offer a compelling exploration of this story in anthology, a new Critical Context chapter has been built around it. This new chapter offers a incisive, array of scholarly essays on diverse topics related to O’Brien’s work, and will help spur lively classroom discussion and encourage engaging student writing.

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PREFACE FOR INSTRUCTORS xxix

Expanded and revised thematic “albums”

Recognizing that many courses build their reading lists around resonant topics or themes, I have expanded in this Twelfth Edition several topic- oriented clusters of stories and poems. Revised and updated versions of collections like “Cross- Cultural Encounters,” “Initiation Stories,” “Exploring Gender,” and “Music and Lyrics” provide students and instructors with ample opportunity to approach their reading (and the course) through a comparison of varied treatments of a common topic, setting, or subgenre.

STUDENT RESOURCES

LitWeb (digital . wwnorton . com / litweb)

Improved and expanded, this free resource offers tools that help students read and write about literature with skill and understanding:

• New Pause & Practice exercises expand on the “Writing about Literature” chapters and offer additional opportunities to practice effective writing. Seven exercises, each tied to a specifi c writing skill, test students on what they know, provide instruction both text and video for different learning styles, assess students on what they’ve learned, and give them an oppor- tunity to apply newly strengthened skills.

• In- depth workshops feature fi fty- fi ve often- taught works from the text, all rooted in the guidance given in the “Reading, Responding, Writing” chapters.

• Self- grading multiple- choice quizzes on sixty of the most widely taught works offer instant feedback designed to hone students’ close- reading skills

Digital Edition

The Shorter Twelfth Edition of The Norton Introduction to Lit er a ture is now avail- able as an ebook. To preview and purchase visit digital . wwnorton . com / lit12 shorter.

INSTRUCTOR RESOURCES

Instructor’s Manual

This thorough guide offers in- depth discussions of nearly all the works in the anthology as well as teaching suggestions and tips for the writing- intensive litera- ture course.

Coursepacks for learning management systems

Available for all major learning management systems (including Blackboard, Angel, Moodle), this free and customizable resource makes the features of LitWeb and plus the Writing about Literature video series and other material available to instructors within the online framework of their choice.

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xxx PREFACE FOR INSTRUCTORS

Teaching Poetry: A Handbook of Exercises for Large and Small Classes (Allan J. Gedalof, University of Western Ontario)

This practical handbook offers a wide variety of innovative in- class exercises to enliven classroom discussion of poetry. Each of these fl exible teaching exercises includes straightforward step- by- step guidelines and suggestions for variation.

Play DVDs

DVDs of most of the plays in the anthology are available to qualifi ed adopters. Semester- long Netfl ix subscriptions are also available.

To obtain any of these instructional resources, please contact your local Nor- ton representative.

AC KNOW LEDG MENTS

In working on this book, I have been guided by teachers and students in my own and other En glish departments who have used this textbook and responded with comments and suggestions. Thanks to such capable help, I am hopeful that this book will continue to offer a solid and stimulating introduction to the experience of literature.

This project continually reminds me why I follow the vocation of teaching literature, which after all is a communal rather than a solitary calling. Since its inception, The Norton Introduction to Literature has been very much a collabora- tive effort. I am grateful for the opportunity to carry on the work begun by the late Carl Bain and Jerome Beaty, whose student I will always be. And I am equally indebted to my wonderful colleagues Paul Hunter and Alison Booth. Their wisdom and intelligence have had a profound effect on me, and their stamp will endure on this and all future editions of this book. I am thankful to Alison especially for the erudition, savvy, grace, and humor she brought to our partnership.

Thanks also to Jason Snart, of the College of Dupage, for his work preparing the online resources for students. As more and more instructors have integrated online materials into their teaching, users of this book have benefi ted from his experienced insight into teaching writing and literature, as well as his thoughtful development of exercises, quizzes, videos and more. I would also like to thank Carly Fraser Doria, emedia editor for the Twelfth Edition, as well as Kimberly Bowers, marketing manager for both the Eleventh and Twelfth Editions.

In putting together the Twelfth Edition, I have accrued many debts to friends and colleagues and to users of the Eleventh Edition who reached out to point out its mistakes, as well as successes. I am grateful for their generosity and insight, as I also am that of my wise and patient editor, Spencer Richardson- Jones. But I am also peculiarly aware this edition of more enduring and personal debts as well, which I hope it’s not entirely out of place to honor here—to my mother, Lola Mays, who died in the very midst of this book’s making, and to both my sister, Nelda Mays, and my husband and in- house editor, Hugh Jackson, without whom I’m not sure I would have made it through that loss, this book, or anything else. To them, much love, much thanks.

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PREFACE FOR INSTRUCTORS xxxi

The Norton Introduction to Literature continues to thrive because so many teach- ers and students generously take the time to provide valuable feedback and sug- gestions. Thank you to all who have done so. This book is equally your making.

At the beginning of planning for the Twelfth Edition, my editors at Norton solicited the guidance of hundreds of instructors via in- depth reviews and a Web- hosted survey. The response was impressive, bordering on overwhelming; it was also im mensely helpful. Thank you to those provided extensive written com- mentary: Julianne Altenbernd (Cypress College), Troy Appling (Florida Gate- way College), Christina Bisirri (Seminole State College), Jill Channing (Mitchell Community College), Thomas Chester (Ivy Tech), Marcelle Cohen (Valencia College), Patricia Glanville (State College of Florida), Julie Gibson (Greenville Tech), Christina Grant (St. Charles Community College), Lauren Hahn (City Colleges of Chicago), Zachary Hyde (Valencia College), Brenda Jernigan (Meth- odist University), Mary Anne Keefer (Lord Fairfax Community College), Shari Koopman (Valencia College), Jessica Rabin (Anne Arundel Community College), Angela Rasmussen (Spokane Community College), Britnee Shandor (Lanier Tech- nical College), Heidi Sheridan (Ocean County College), Jeff Tix (Wharton Jr. College), Bente Videbaek (Stony Brook University), Patrice Willaims (Northwest Florida State College), and Connie Youngblood (Blinn College).

Thanks also to everyone who responded to the survey online: Sue Abbotson (Rhode Island College), Emory Abbott (Georgia Perimeter

College), Mary Adams (Lincoln College- Normal), Julie Altenbernd (Cypress College), Troy Appling (Florida Gateway College), Marilyn Judith Atlas (Ohio University), Unoma Azuah (Lane College), Diann Baecker (Virginia State Uni- versity), Aaron Barrell (Everett Community College), Craig Barrette (Brescia University), John Bell (American River College), Monica Berlin (Knox College), Mary Anne Bernal (San Antonio College), Jolan Bishop (Southeastern Com- munity College), Randall Blankenship (Valencia College), Margaret Boas (Anne Arundel Community College), Andrew Bodenrader (Manhattanville College), James Borton (Coastal Carolina University), Ethel Bowden (Central Maine Community College), Amy Braziller (Red Rocks Community College), Jason Brown (Herkimer County Community College), Alissa Burger (SUNY Delhi), Michael Burns (Spokane Community College), Ryan Campbell (Front Range Community College), Anna Cancelli (Coastal Carolina Community College), Vanessa Canete- Jurado (Binghamton University), Rebecca Cash (SUNY Adiron- dack), Kevin Cavanaugh (Dutchess Community College), Emily Chamison (Georgia College & State University), Jill Channing (Mitchell Community Col- lege), Thomas Chester (Ivy Tech), Ann Clark (Jefferson Community College), Thomas Coakley (Mount Aloysius College), Susan Cole (Albert Magnus Col- lege), Tera Joy Cole (Idaho State University), Vicki Collins (University of South Carolina Aiken), Jonathan Cook (Durham Technical Community College), Beth Copeland (Methodist University), Bill Corby (Berkshire Community Col- lege), James Crowley (Bridgewater State University), Diane D’Amico (Allegheny College), Susan Dauer (Valencia College), Emily Dial- Driver (Rogers State Uni- versity), Lorraine DiCicco (University of Western Ontario), Christina Devlin (Montgomery College), Jess Domanico (Point University), William Donovan (Idaho State University), Bonnie Dowd (Montclair State University), Douglas

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xxx ii PREFACE FOR INSTRUCTORS

Dowland (Ohio Northern University), Justine Dymond (Springfi eld College), Jason Evans (Prairie State College), Richard Farias (San Antonio College), Karen Feldman (Seminole State College), V. Ferretti (Westmoreland County Com- munity College), Bradley Fest (University of Pittsburgh), Glynn- Ellen Fisichelli (Nassau Community College), Colleen Flanagan (Seminole State College of Flor- ida), Michael Flynn (University of North Dakota), Matthew Fullerty (Chowan University), Robert Galin (University of New Mexico at Gallup), Margaret Gar- dineer (Felician College), Jan Geyer (Hudson Valley Community College), Sea- mus Gibbons (Bergen Community College), Eva Gold (Southeastern Louisiana University), Melissa Green (Ohio University Chillicothe), Frank Gruber (Bergen Community College), Lauren Hahn (City Colleges of Chicago), Rob Hale (West- ern Kentucky University), Nada Halloway (Manhattanville College), Melody Hargraves (St. Johns River State College), Elizabeth Harlan (Northern Virginia Community College), Stephanie Harzewski (University of New Hampshire), Lance Hawvermale (Ranger College), Catherine Heath (Victoria College), Beth Heim de Bera (Rochester Community and Technical College), Natalie Hewitt (Hope International University), Melissa Hoban (Blinn College), Charles Hood (Antelope Valley College), Trish Hopkins (Community College of Vermont), Spring Hyde (Lincoln College), Tammy Jabin (Chemeketa Community College), Kim Jacobs- Beck (University of Cincinnati Clermont College), Brenda Jerrigan (Methodist University), Kathy Johnson (SUNY Cobleskill), Darlene Johnston (Ohio Northern University), Kimberly Kaczorowski (University of Utah), Mary- ellen Keefe (SUNY Maritime College), Mary Anne Keefer (Lord Fairfax Com- munity College), Caroline Kelley (Bergen Community College), Tim Kelley (Northwest- Shoals Community College), Mary Catherine Killany (Robert Mor- ris University), Amy Kolker (Black Hawk College), Beth Kolp (Dutchess Com- munity College), Shari Koopman (Valencia College), Jill Kronstadt (Montgomery College), Liz Langemak (La Salle University), Audrey Lapointe (Cuyamaca College), Dawn Lattin (Idaho State University), Richard Lee (Elon University), Nancy Lee- Jones (Endicott College), Sharon Levy (Northampton Commu- nity College), Erika Lin (George Mason University), Clare Little (Embry- Riddle Aeronautical University), Paulette Longmore (Essex County College), Carol Luther (Pellissippi State Community College), Sean McAuley (North Georgia Technical College), Sheila McAvey (Becker College), Kelli McBride (Seminole State College), Jim McWilliams (Dickinson State University), Vickie Melograno (Atlantic Cape Community College), Agnetta Mendoza (Nashville State Com- munity College), David Merchant (Louisiana Tech University), Edith Miller (Angelina College), Benjamin Mitchell (Georgia College & State University), James Norman (Bridgewater State University), Angelia Northrip- Rivera (Mis- souri State University), James Obertino (University of Central Missouri), Elaine Ostry (SUNY Plattsburg), Michelle Paulsen (Victoria College), Russell Perkin (Saint Mary’s University), Katherine Perry (Georgia Perimeter College), Thomas Pfi ster (Idaho State University), Gemmicka Piper (University of Iowa), Michael Podolny (Onondaga Community College), Wanda Pothier- Hill (Mt. Wachusett Community College), Gregg Pratt (SUNY Adirondack, Wilton Campus), Jona- than Purkiss (Pulaski Technical College), Jessica Rabin (Anne Arundel Com- munity College), Elizabeth Rambo (Campbell University), Angela Rasmussen

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PREFACE FOR INSTRUCTORS xxxiii

(Spokane Community College), Rhonda Ray (East Stroudsburg University), Janet Red Feather (Normandale Community College), Joan Reeves (Northeast Ala- bama Community College), Matthias Regan (North Central College), Eliza- beth Rescher (Richard Bland College), Stephanie Roberts (Georgia Military College), Paul Robichaud (Albert Magnus College), Nancy Roche (University of Utah), Mary Rohrer- Dann (Pennsylvania State University), Michael Rottnick (Ellsworth Community College), Scott Rudd (Monroe Community College), Ernest Rufl eth (Louisiana Tech University), Frank Rusciano (Rider University), Michael Sarabia (University of Iowa), Susan Scheckel (Stony Brook Univer- sity), Lori Schroeder (Knox College), Britnee Shandor (Lanier Technical Col- lege), Jolie Sheffer (Bowling Green State University), Olympia Sibley, (Blinn College), Christine Sizemore (Spelman College), Chris Small (New Hampshire Technical Institute), Katherine Smit (Housatonic Community College), Whit- ney Smith (Miami University), Jason Snart (College of Dupage), John Snider (Montana State University- Northern), Shannon Stewart (Costal Carolina Uni- versity), Susan St. Peters (Riverside City College), Michael Stubbs (Idaho State University), Patrice Suggs (Craven Community College), Joseph Sullivan (Mari- etta College), Heidi L. Sura (Kirtland Community College), David Susman (York County Community College), Fred Svoboda (University of Michigan), Taryne Taylor (University of Iowa), Nancy Thompson (Community College of Vermont), Rita Treutel (University of Alabama at Birmingham), Keja Valens (Salem State University), Diana Vecchio (Widener University), Bente Videbaek (Stony Brook University), Donna Waldron (Campbell University), Kent Walker (Brock Uni- versity), Brandi Wallace (Wallace Community College), Valerie Wallace (City Colleges of Chicago), Maureen Walters (Vance- Granville Community College), Megan Walsh (St. Bonaventure University), Kimberly Ward (Campbell Univer- sity), Catherine Welter (University of New Hampshire), Jeff Westover (Boise State University), Kathy Whitaker (East Georgia State College), Bruce Wigutow (Farmingdale State College), Jessica Wilkie (Monroe Community College), Leigh Williams (Dutchess Community College), Jenny Williams (Spartanburg Community College), Patrice Williams (Northwest Florida State College), Greg- ory Wilson (St. John’s University), Mark WIlson (Southwestern Oregon Com- munity College), Rita Wisdom (Tarrant County College), Martha Witt (William Paterson University), Robert Wiznura (Grant MacEwan University), Jarrell Wright (University of Pittsburgh), Kelly Yacobucci (SUNY Cobleskill), Kidane Yohannes (Burlington County College), Brian Yost (Texas A&M University), Connie Youngblood (Blinn College), Susan Youngs (Southern New Hampshire University), and Jason Ziebart (Central Carolina Community College).

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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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1

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Introduction

In the opening chapters of Charles Dickens’s novel Hard Times (1854), the aptly named Thomas Gradgrind warns the teachers and pupils at his “model” school to avoid using their imaginations. “Teach these boys and girls nothing but Facts. Facts alone are wanted in life,” exclaims Mr. Gradgrind. To press his point, Mr. Gradgrind asks “girl number twenty,” Sissy Jupe, the daughter of a circus performer, to defi ne a horse. When she cannot, Gradgrind turns to Bitzer, a pale, spiritless boy who “looked as though, if he were cut, he would bleed white.” A “model” stu- dent of this “model” school, Bitzer gives exactly the kind of defi nition to satisfy Mr. Gradgrind:

Quadruped. Graminivorous. Forty teeth, namely, twenty- four grinders, four eye- teeth, and twelve incisive. Sheds coat in spring; in marshy countries, sheds hoofs.

Anyone who has any sense of what a horse is rebels against Bitzer’s lifeless pic- ture of that animal and against the “Gradgrind” view of reality. As these fi rst scenes of Hard Times lead us to expect, in the course of the novel the fact- grinding Mr. Gradgrind learns that human beings cannot live on facts alone; that it is dangerous to stunt the faculties of imagination and feeling; that, in the words of one of the novel’s more lovable characters, “People must be amused.” Through the downfall of an exaggerated enemy of the imagination, Dickens reminds us why we like and even need to read literature.

WHAT IS LITERATURE?

But what is literature? Before you opened this book, you probably could guess that it would contain the sorts of stories, poems, and plays you have encountered in En glish classes or in the literature section of a library or bookstore. But why are some written works called literature whereas others are not? And who gets to decide? The American Heritage Dictionary of the En glish Language offers a num- ber of defi nitions for the word literature, one of which is “imaginative or creative writing, especially of recognized artistic value.” In this book, we adopt a version of that defi nition by focusing on fi ctional stories, poems, and plays— the three major kinds (or genres) of “imaginative or creative writing” that form the heart of litera- ture as it has been taught in schools and universities for over a century. Many of the works we have chosen to include are already ones “of recognized artistic value” and thus belong to what scholars call the canon, a select, if much- debated and ever- evolving, list of the most highly and widely esteemed works. Though quite a few of the literary texts we include are simply too new to have earned that status, they, too, have already drawn praise, and some have even generated controversy.

Certainly it helps to bear in mind what others have thought of a literary work. Yet one of this book’s primary goals is to get you to think for yourself, as well as communicate with others, about what “imaginative writing” and “artistic value” are or might be and thus about what counts as literature. What makes a story or poem different from an essay, a newspaper editorial, or a technical manual? For

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that matter, what makes a published, canonical story like Herman Melville’s Bartleby, the Scrivener both like and unlike the sorts of stories we tell each other every day? What about so- called oral literature, such as the fables and folk- tales that circulated by word of mouth for hundreds of years before they were ever written down? Or published works such as comic strips and graphic novels that rely little, if at all, on the written word? Or Harlequin romances, tele vi sion shows, and the stories you collaborate in making when you play a video game? Likewise, how is Shakespeare’s poem My mistress’s eyes are nothing like the sun both like and unlike a verse you might fi nd in a Hallmark card or even a jingle in a mouthwash commercial?

Today, literature departments offer courses in many of these forms of expres- sion, expanding the realm of literature far beyond the limits of the dictionary defi nition. An essay, a song lyric, a screenplay, a supermarket romance, a novel by Toni Morrison or William Faulkner, and a poem by Walt Whitman or Emily Dickinson— each may be read and interpreted in literary ways that yield insight and plea sure. What makes the literary way of reading different from pragmatic reading is, as scholar Louise Rosenblatt explains, that it does not focus “on what will remain [. . .] after the reading— the information to be acquired, the logical solution to a problem, the actions to be carried out,” but rather on “what happens

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during [. . .] reading.” The difference between pragmatic and literary reading, in other words, resembles the difference between a journey that is only about reach- ing a destination and one that is just as much about fully experiencing the ride.

In the pages of this book, you will fi nd cartoons, an excerpt from a graphic novel, song lyrics, folktales, and stories and plays that have spawned movies. Through this inclusiveness, we do not intend to suggest that there are no distinctions among these various forms of expression or between a good story, poem, or play and a bad one; rather, we want to get you thinking, talking, and writing both about what the key differences and similarities among these forms are and what makes one work a better example of its genre than another. Sharpening your skills at these peculiarly intensive and responsive sorts of reading and interpretation is a primary purpose of this book and of most literature courses.

Another goal of inclusiveness is simply to remind you that literature doesn’t just belong in a textbook or a classroom, even if textbooks and classrooms are essential means for expanding your knowledge of the literary terrain and of the concepts and techniques essential to thoroughly enjoying and understanding a broad range of literary forms. You may or may not be the kind of person who always takes a novel when you go to the beach or secretly writes a poem about your experience when you get back home. You may or may not have taken a literature course (or courses) before. Yet you already have a good deal of literary experience and even expertise, as well as much more to discover about literature. A major aim of this book is to make you more conscious of how and to what end you might use the tools you already possess and to add many new ones to your tool belt.

WHAT DOES LITERATURE DO?

One quality that may well differentiate stories, poems, and plays from other kinds of writing is that they help us move beyond and probe beneath abstractions by giv- ing us concrete, vivid particulars. Rather than talking about things, they bring them to life for us by representing experience, and so they become an experience for us— one that engages our emotions, our imagination, and all of our senses, as well as our intellects. As the British poet and critic Matthew Arnold put it more than a century ago, “The interpretations of science do not give us this intimate sense of objects as the interpretations of poetry give it; they appeal to a limited fac- ulty, and not to the whole man. It is not Linnaeus [. . .] who gives us the true sense of animals, or water, or plants, who seizes their secret for us, who makes us par- ticipate in their life; it is Shakespeare [. . .] Wordsworth [. . .] Keats.”

To test Arnold’s theory, compare the American Heritage Dictionary’s rather dry defi nition of literature with the following poem, in which John Keats describes his fi rst encounter with a specifi c literary work— George Chapman’s translation of the Iliad and the Odyssey, two epics by the ancient Greek poet Homer.

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JOH N KE ATS On First Looking into Chapman’s Homer1

Much have I traveled in the realms of gold, And many goodly states and kingdoms seen; Round many western islands have I been Which bards in fealty to Apollo2 hold.

5 Oft of one wide expanse had I been told That deep- browed Homer ruled as his demesne; Yet did I never breathe its pure serene3

Till I heard Chapman speak out loud and bold: Then felt I like some watcher of the skies

10 When a new planet swims into his ken;4

Or like stout Cortez5 when with ea gle eyes He stared at the Pacifi c— and all his men Looked at each other with a wild surmise— Silent, upon a peak in Darien.