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Book Details

  • Paperback
  • Bookstore's Wholesale Price: $61.00
  • March 2010
  • ISBN: 978-0-393-93514-1
  • 1844 pages
  • Territory Rights: Worldwide including Canada, but excluding the British Commonwealth.

The Norton Introduction to Literature

Shorter Tenth Edition


Alison Booth (Editor, University of Virginia), Kelly J. Mays (Editor, University of Nevada, Las Vegas)


The only introduction to literature that’s a Norton.

The Norton Introduction to Literature, Shorter Tenth Edition, includes a diverse selection of literature that fits any course, balancing exciting contemporary pieces with perennially popular classics.

The Shorter Tenth Edition is more flexible, helpful, and innovative than ever, with new albums of thematically linked pieces, an expanded treatment of the contexts of literature, and in-text pedagogy and emedia features that hone students’ reading, analytical, and writing skills.


A diverse selection of literature

The Tenth Edition includes exciting new contemporary selections from graphic memoir (Marjane Satrapi’s Persepolis) to experimental drama (Suzan-Lori Parks’s 365 Days / 365 Plays) to global fiction in English (Hanif Kureishi’s “Long Ago Yesterday”). More authors are represented by multiple selections, and chapters titled “The Longer Work” give teachers and students a chance to grapple with meaty, longer selections.

More flexible and innovative than ever

The new edition includes “albums” of thematically linked pieces, and an unparalleled collection of “contextual” chapters including a new chapter focusing on women’s lives in late-nineteenth and early-twentieth-century America, a new “Performance as Context” chapter in the Drama section, and new chapters on “The Author’s Work.”

The most helpful, carefully edited apparatus

The “Reading, Responding, Writing” sections at the beginning of each genre have been extensively revised to show students how to turn close reading into exemplary writing, and more writing prompts and suggestions have been added throughout. New writing samples have been added and introductory matter has been revised to be more direct, clear, and helpful.

Innovative and extensive emedia ancillaries

The Norton Introduction to Literature instructor media package offers tools for writing, close reading, and analysis, as well as media that show students how literature connects with the world around them. The instructor media package includes an Instructor Resource Disc, with lecture PowerPoints and multimedia slideshows that complement the new thematic clusters and contextual chapters, and a two CD instructor audio companion. DVDs of many of the plays are available to qualified adopters on request.

New LITWEB workshops

Fifty new and improved LITWEB workshops hone student’s close reading skills and encourage them to read and write analytically, offering extensive, unmatched help for student writers. These resources complement the book's pedagogical elements and help instructors guide their students to read, think about, and write about literature as creatively and analytically as possible.

    *New to this edition


    1. What is Literature?
      1. JOHN KEATS, On First Looking into Chapman’s Homer
    2. Literary versus Pragmatic Reading
    3. Why Read Literature? Why Study It?
    4. Literary Terminology
      1. Genre, Subgenre, and Kind


    Reading, Responding, Writing

    1. ANONYMOUS, The Elephant in the Village of the Blind
    2. LINDA BREWER, 20/20
    3. *MARJAN SATRAPI, from Persepolis
    4. RAYMOND CARVER, Cathedral
      1. *Sample Writing: notes on Raymond Carver’s “Cathedral”
      2. *Sample Writing: Response Paper on Raymond Carver’s “Cathedral”
      3. Sample Writing: Character and Narration in “Cathedral”

    Understanding the Text

    1. Plot

    1. *JACOB AND WILHELM GRIMM, The Little Shroud
    2. *GUY DE MAUPASSANT, The Jewelry
    3. JAMES BALDWIN, Sonny’s Blues
    4. EDITH WHARTON, Roman Fever

    2. Narration and Point of View

    1. EDGAR ALLAN POE, The Cask of Amontillado
    2. ERNEST HEMINGWAY, Hills Like White Elephants
    3. LORRIE MOORE, How

    3. Character

    1. *CHARLOTTE BRONTË, from Jane Eyre
    2. *WILLIAM FAULKNER, Barn Burning
    3. *TONI MORRISON, Recitatif
    4. *HA JIN, In Broad Daylight

    4. Setting

    1. *ITALO CALVINO, from Invisible Cities
    2. *MARGARET MITCHELL, from Gone with the Wind
    3. *ALICE RANDALL, from The Wind Done Gone
    4. ANTON CHEKHOV, The Lady with the Dog
    5. KATHERINE ANNE PORTER, Flowering Judas
    6. AMY TAN, A Pair of Tickets
    7. *Student Writing: STEPHEN MATVIEW, … Setting in ‘The Lady with the Dog’

    5. Symbol

    1. *NATHANIEL HAWTHORNE, The Birthmark
    2. A. S. BYATT, The Thing in the Forest
    3. EDWIDGE DANTICAT, A Wall of Fire Rising

    6. Theme

    1. *AESOP, The Two Crabs
    2. STEPHEN CRANE, The Open Boat
    3. GABRIEL GARCÍA MÁRQUEZ, A Very Old Man with Enormous Wings
    4. LOUISE ERDRICH, Love Medicine
    5. YASUNARA KAWABATA, The Grasshopper and the Bell Cricket

    Exploring Contexts

    7. The Author’s Work: Flannery O’Connor

    1. A Good Man is Hard to Find
    2. *Good Country People
    3. Everything That Rises Must Converge
    4. Passages from Essays and Letters
    5. *MARY GORDON, from Flannery’s Kiss
    6. *ANN E. REUMAN, from Revolting Fictions
    7. *EILEEN POLLACK, from Flannery O’Connor and the New Criticism

    *8. Cultural and Historical Contexts: Women in Turn-of-the-Century America

    1. KATE CHOPIN, The Story of an Hour
    2. CHARLOTTE PERKINS GILMAN, The Yellow Wallpaper
    3. *SUSAN GLASPELL, A Jury of Her Peers
    4. *CHARLOTTE PERKINS GILMAN, from Similar Cases
    5. *CHARLOTTE PERKINS GILMAN, from Women and Economics
    6. *BARBARA BOYD, “Heart and Home Talks: Politics and Milk”
    7. *MRS. ARTHUR LYTTELTON, from Women and Their Work
    8. *RHETA CHILDE DORR, What Eight Million Women Want
    9. *NEW YORK TIMES, December 1, 1892, Mrs. Delong Acquitted: She Killed Her Husband, But the Jury Has Set Her Free
    10. *THE WASHINGTON POST, November 28, 1909,The Chances of Divorce
    11. *CHARLOTTE PERKINS GILMAN, How I Came To Write ‘The Yellow Wallpaper’
    12. *THE WASHINGTON POST, August 4, 1902, The Rest Cure
    13. *THE WASHINGTON POST, September 10, 1905, Egotism of the Rest Cure

    9. Critical Contexts: William Faulkner’s A Rose for Emily

    1. WILLIAM FAULKNER, A Rose for Emily
    2. *CLEANTH BROOKS, JR. and ROBERT PENN WARREN, from Understanding Fiction
    3. *C. W. M. JOHNSON, Faulkner’s ‘A Rose for Emily’
    4. *RAY B. WEST, JR., Faulkner’s ‘A Rose for Emily’
    5. *WILLIAM VAN O’CONNOR, from “The State of Faulkner Criticism”
    6. *FLOYD C. WATKINS, The Structure of ‘A Rose for Emily’
    7. *T. J. STAFFORD, from Tobe’s Significance in ‘A Rose for Emily’
    8. JUDITH FETTERLEY, from A Rose for ‘A Rose for Emily’
    9. *THOMAS KLEIN, The Ghostly Voice of Gossip in Faulkner’s ‘A Rose for Emily’
    10. *LAWRENCE R. RODGERS, … The Narrator/Detective in Faulkner’s ‘A Rose for Emily’
    11. *Student Writing: ANN WARREN, The Tragic Plot of ‘A Rose for Emily’

    Reading More Fiction

    1. SHERMAN ALEXIE, Flight Patterns
    2. MARGARET ATWOOD, Scarlet Ibis
    3. TONI CADE BAMBARA, Gorilla, My Love
    4. ANN BEATTIE, Janus
    5. AMBROSE BIERCE, An Occurrence at Owl Creek Bridge
    6. JORGE LOUIS BORGES, The Garden of Forking Paths
    7. MICHAEL CHABON, The Lost World
    8. JOHN CHEEVER, The Country Husband
    9. *RALPH ELLISON, King of the Bingo Game
    10. JAMES JOYCE, Araby
    11. FRANZ KAFKA, A Hunger Artist
    12. *D. H. LAWRENCE, The Rocking Horse Winner
    13. *BOBBIE ANN MASON, Shiloh
    14. HERMAN MELVILLE, Bartleby, the Scrivener
    15. BHARATI MUKHERJEE, The Management of Grief
    16. ALICE MUNRO, Boys and Girls
    17. SALMAN RUSHDIE, The Prophet’s Hair
    18. *JOHN UPDIKE, A & P
    19. EUDORA WELTY, Why I Live at the P.O.


    Reading, Responding, Writing


    1. Reading Poems: Four Examples
      2. JAROLD RAMSAY, The Tally Stick
      3. LINDA PASTAN, love poem
      4. LIZ ROSENBERG, Married Love


    1. BEN JONSON, On My First Son
    2. HOWARD NEMEROV, The Vacuum
    3. Responding to Poems: An Exercise
      1. RITA DOVE, Fifth Grade Autobiography
      2. ANNE SEXTON, The Fury of Overshoes
      3. SEAMUS HEANEY, Mid-Term Break
    4. Responding to Poetry: Eight Concrete Steps and An Example
      1. APHRA BEHN, On Her Loving Two Equally


    1. STEPHEN BORLAND, response paper on Auden’s “Stop All the Clocks”
    2. *Sample Writing: Multiplying by Dividing in Aphra Behn’s ‘On Her Loving Two Equally

    *Romantic Love: An Album

    1. EZRA POUND, The River-Merchant’s Wife: A Letter
    2. W. H. AUDEN, [Stop all the clocks, cut off the telephone]
    3. ANNE BRADSTREET, To My Dear and Loving Husband
    4. WILLIAM SHAKESPEARE, [Let me not to the marriage of true minds]
    5. SHARON OLDS, Last Night
    6. JOHN DONNE, The Sun Rising
    7. EDNA ST. VINCENT MILLAY, [Women have loved before …]
      1. [I being born a woman]

    Understanding the Text

    10. Theme and Tone

    1. Listening to Tone
      1. MARGE PIERCY, Barbie Doll
      2. W. D. SNODGRASS, Leaving the Motel
      3. THOM GUNN, In Time of Plague
      4. ETHERIDGE KNIGHT, Hard Rock Returns to Prison from the Hospital for the Criminal Insane
    2. Setting as Theme
      1. WILLIAM BLAKE, London
    3. Animal Poems: An Exercise in Subject, Theme, and Tone
      1. MAXINE KUMIN, Woodchucks
      2. ADRIENNE RICH, Aunt Jennifer’s Tigers
    4. *Family: An Album
      1. GALWAY KINNELL, After Making Love We Hear Footsteps
      2. EMILY GROSHOLZ, Eden
      3. LI-YOUNG LEE, Persimmons
      4. ROBERT HAYDEN, Those Winter Sundays
      5. JIMMY SANTIAGO BACA, Green Chile
      6. KELLY CHERRY, Alzheimer’s
      7. ANDREW HUDGINS, Begotten
      8. SIMON J. ORTIZ, My Father’s Song
      9. *CHARLES R. FELDSTEIN, Gravity

    11. Speaker: Whose Voice Do We Hear?

    1. THOMAS HARDY, The Ruined Maid
    2. X. J. KENNEDY, In a Prominent Bar in Secaucus One Day
    3. MARGARET ATWOOD, Death of a Young Son by Drowning
    4. ROBERT BROWNING, Soliloquy of the Spanish Cloister
    5. DOROTHY PARKER, A Certain Lady
    6. Author Versus Speaker
      1. WILLIAM WORDSWORTH, She Dwelt among the Untrodden Ways
      2. AUDRE LORDE, Hanging Fire
      3. ROBERT BURNS, To a Louse
      4. GWENDOLYN BROOKS, We Real Cool
      5. WALT WHITMAN, [I celebrate myself, and sing myself]
    7. *Exploring Gender: An Album
      1. RICHARD LOVELACE, Song: To Lucasta, Going to the Wars
      2. MARY, LADY CHUDLEIGH, To the Ladies
      3. *WILFRED OWEN, Disabled
      4. AMY LOWELL, The Lonely Wife
      5. ELIZABETH BISHOP, Exchanging Hats
      6. PAULETTE JILES, Paper Matches
      7. DAVID WAGONER, My Father’s Garden
      8. *JUDITH ORTIZ COFER, The Changeling
      9. LIZ ROSENBERG, The Silence of Women
      10. MARIE HOWE, Practicing

    12. Situation and Setting: What Happens? Where? When?

    1. Situations: Caring for Children
      1. RITA DOVE, Daystar
      2. LINDA PASTAN, To a Daughter Leaving Home
    2. Historical Contexts and Settings: Some Examples
      1. JOHN MILTON, On the Late Massacre in Piedmont
      2. MATTHEW ARNOLD, Dover Beach
      3. JOHN BETJEMAN, In Westminster Abbey
    3. Situation and Setting: Preparing a Response Paper
      1. JAMES DICKEY, Cherrylog Road
    4. Two Carpe Diem Poems
      1. JOHN DONNE, The Flea
      2. ANDREW MARVELL, To His Coy Mistress
    5. Poems of Varied Situations and Settings
      1. EMILY BRONTË, The Night-Wind
      2. SYLVIA PLATH, Point Shirley
      3. DEREK WALCOTT, Midsummer
      4. EARLE BIRNEY, Irapuato
    6. *Morning: An Album
      1. WILLIAM SHAKESPEARE, [Full many a glorious morning have I seen]
      2. JOHN DONNE, The Good-Morrow
      3. SYLVIA PLATH, Morning Song
      4. BILLY COLLINS, Morning
      5. JONATHAN SWIFT, A Description of the Morning
    7. *Cultural Homelands: An Album
      1. PHILLIS WHEATLEY, On Being Brought from Africa to America
      2. MAYA ANGELOU, Africa
      3. DEREK WALCOTT, A Far Cry from Africa
      4. AGHA SHAHID ALI, Postcard from Kashmir

    13. Language

    1. Precision and Ambiguity, Denotation and Connotation
      1. SARA CLEGHORN, [The golf links lie so near the mill]
      2. ANNE FINCH, Countess of Winchelsea, There’s No To-Morrow
      3. CHARLES BERNSTEIN, Of Time and the Line
      4. WALTER DE LA MARE, Slim Cunning Hands
      5. THEODORE ROETHKE, My Papa’s Waltz
    2. Word Order and Word Placement
      1. SHARON OLDS, Sex Without Love
      2. YVOR WINTERS, At the San Francisco Airport
      3. MARTHA COLLINS, Lies
      4. EMILY DICKINSON, [I dwell in Possibility—]
      5. WILLIAM CARLOS WILLIAMS, The Red Wheelbarrow
        1. This is Just to Say
      6. GERARD MANLEY HOPKINS, Pied Beauty
      7. E. E. CUMMINGS, [in Just—]
      8. *BARBARA HAMBY, Ode to American English
    3. Picturing: The Languages of Description
      1. OSCAR WILDE, Symphony in Yellow
      2. RICHARD WILBUR, The Beautiful Changes
      3. ANDREW MARVELL, On a Drop of Dew
      4. *LYNN POWELL, Kind of Blue
    4. Metaphor and Personification
      1. WILLIAM SHAKESPEARE, [That time of year thou mayest in me behold]
      2. LINDA PASTAN, Marks
    5. Simile and Analogy
      1. ROBERT BURNS, A Red, Red Rose
      2. WILLIAM SHAKESPEARE, [Shall I compare thee to a summer’s day?]
      3. ANONYMOUS, The Twenty-third Psalm
      4. JOHN DONNE, [Batter my heart, three-personed God]
        1. The Canonization
      5. DAVID FERRY, At the Hospital
      6. RANDALL JARRELL, The Death of the Ball Turret Gunner
      7. WILFRED OWEN, Dulce et Decorum Est
      8. *HARRYETTE MULLEN, Wipe That Smile Off Your Aphasia
    6. Symbol
      1. JAMES DICKEY, The Leap
      2. EDMUND WALLER, Song
      3. D. H. LAWRENCE, I Am Like a Rose
      4. DOROTHY PARKER, One Perfect Rose
      5. WILLIAM BLAKE, The Sick Rose
      6. SHARON OLDS, Leningrad Cemetery, Winter of 1941
      7. ROBERT FROST, Fireflies in the Garden
      8. ADRIENNE RICH, Diving into the Wreck
      9. ROO BORSON, After a Death
      10. DENISE LEVERTOV, Wedding-Ring

    14. The Sounds of Poetry

    1. Sound Poems: Some Examples
      1. HELEN CHASIN, The Word Plum
      2. MONA VAN DUYN, What the Motorcycle Said
      3. KENNETH FEARING, Dirge
      4. ALEXANDER POPE, Sound and Sense
    2. Poetic Meter
      1. SAMUEL TAYLOR COLERIDGE, Metrical Feet
    3. Practicing Scansion (Reading Meter)
      1. ANONYMOUS, [There was a young girl from St. Paul]
      2. *ALFRED, LORD TENNYSON, from The Charge of the Light Brigade
      3. SIR JOHN SUCKLING, Song
      4. JOHN DRYDEN, To the Memory of Mr. Oldham
      5. EDGAR ALLAN POE, The Raven
      6. WILLIAM SHAKESPEARE, [Like as the waves …]
      7. JAMES MERRILL, Watching the Dance
      8. GERARD MANLEY HOPKINS, Spring and Fall
      9. EMILY DICKINSON, [A narrow Fellow in the Grass]
    4. *Words and Music: An Album
      1. THOMAS CAMPION, When to Her Lute Corinna Sings
      3. AUGUSTUS MONTAGUE TOPLADY, A Prayer, Living and Dying
      4. ROBERT HAYDEN, Homage to the Empress of the Blues
      5. MICHAEL HARPER, Dear John, Dear Coltrane
      6. *BOB DYLAN, Mr. Tambourine Man

    15. Internal Structure

    1. Narrative Poems
      1. EDWIN ARLINGTON ROBINSON, Mr. Flood’s Party
    2. Dramatic Poems
      1. HOWARD NEMEROV, The Goose Fish
      2. PHILIP LARKIN, Church Going
      3. PAT MORA, Sonrisas
    3. Other Types of Poetic Structure
    4. Structure and Shifts
      1. SHARON OLDS, The Victims
      2. ANONYMOUS, Sir Patrick Spens
      4. EMILY DICKINSON, [The Wind begun to knead the Grass —]
      5. WILLIAM SHAKESPEARE, [Th’ expense of spirit in a waste of shame]
      6. CATHY SONG, Heaven
      7. STEPHEN DUNN, Poetry
      8. PERCY BYSSHE SHELLEY, Ode to the West Wind
      9. *Student Writing: LINDSAY GIBSON, Philip Larkin’s “Church Going”

    16. External Form

    1. The Sonnet
      1. WILLIAM WORDSWORTH, Nuns Fret Not
      2. HENRY CONSTABLE, [My lady’s presence makes the roses red]
      3. DANTE GABRIEL ROSSETTI, A Sonnet is a Moment’s Monument
      4. JOHN KEATS, On the Sonnet
        1. On the Grasshopper and the Cricket
        2. On Seeing the Elgin Marbles
      5. GWENDOLYN BROOKS, First Fight. Then Fiddle.
      6. ROBERT FROST, Range-Finding
        1. Design
      7. WILLIAM WORDSWORTH, London, 1802
      8. JOHN MILTON, [When I consider how my light is spent]
      9. ELIZABETH BARRETT BROWNING, [When our two souls stand up]
      10. CHRISTINA ROSSETTI, In an Artist’s Studio
      11. EDNA ST. VINCENT MILLAY, [What lips my lips have kissed]
      12. GWEN HARWOOD, In the Park
      13. WILLIAM SHAKESPEARE, [My mistress’ eyes are nothing like the sun]
      14. BILLY COLLINS, Sonnet
      15. JUNE JORDAN, Something Like a Sonnet for Phillis Miracle Wheatley
      16. SANDRA GILBERT, Sonnet: The Ladies’ Home Journal
    2. Stanza Forms: Examples
      1. DYLAN THOMAS, Do Not Go Gentle into That Good Night
      2. MARIANNE MOORE, Poetry
      3. ELIZABETH BISHOP, Sestina
      4. ARCHIBALD MACLEISH, Ars Poetica
      5. DUDLEY RANDALL, Ballad of Birmingham
    3. The Way a Poem Looks
      1. E. E. CUMMINGS, [l(a]
      2. FRANKLIN P. ADAMS, Composed in the Composing Room
      3. E. E. CUMMINGS, [Buffalo Bill’s]
      4. STEVIE SMITH, The Jungle Husband
      5. GEORGE HERBERT, Easter Wings
      6. *MAY SWENSON, Women
      7. EARLE BIRNEY, Anglosaxon Street

    Exploring Contexts

    17. The Author’s Work: Adrienne Rich

    1. At a Bach Concert
    2. Storm Warnings
    3. Living in Sin
    4. Snapshots of a Daughter-in-Law
    5. Planetarium
    6. For the Record
    7. [My mouth hovers across your breasts]
    8. History
    9. Modotti
    10. Personal Reflections
    11. When We Dead Awaken: Writing as Re-vision
    12. How Does a Poet Put Bread on the Table?
    13. A Communal Poetry
    14. Why I Refused the National Medal for the Arts
    15. Chronology
    16. *Sample Writing: “Out-Sonneting Shakespeare…”
    17. *Emily Dickinson: An Album
      1. [Because I could not stop for Death —]
      2. [I stepped from Plank to Plank]
      3. [We do not play on Graves]
      4. [The Brain — is wider than the Sky —]
      5. [She dealt her pretty words like Blades—]
      6. [Wild Nights — Wild Nights!]
      7. [My Life had stood — a Loaded Gun —]
      8. [After great pain, a formal feeling comes—]
      9. WENDY COPE, Emily Dickinson
      10. *HART CRANE, To Emily Dickinson
    18. *W. B. Yeats: An Album
      1. The Lake Isle of Innisfree
      2. *All Things Can Tempt Me
      3. Easter 1916
      4. The Second Coming
      5. Leda and the Swan
      6. Sailing to Byzantium
      7. W. H. AUDEN, In Memory of W. B. Yeats

    18. Literary Tradition as Context

    1. Echo and Allusion
      1. BEN JONSON, [Come, my Celia, let us prove]
      2. HOWARD NEMEROV, Boom!
      3. MARIANNE MOORE, Love in America?
      4. WILLIAM SHAKESPEARE, [Not marble, nor the gilded monuments]
    2. Poetic “Kinds”
      1. CHRISTOPHER MARLOWE, The Passionate Shepherd to His Love
      2. SIR WALTER RALEGH, [The Nymph’s Reply to the Shepherd]
    3. Haiku
      1. CHIYOJO, [Whether astringent]
      2. BASHO, [A village without bells—]
        1. [This road—]
      3. BUSON, [Coolness]
        1. [Listening to the moon]
      4. SEIFU, [The faces of dolls]
      5. LAFCADIO HEARN, [Old pond—]
      6. CLARA A. WALSH, [An old-time pond]
      7. EARL MINER, [The still old pond]
      8. ALLEN GINSBERG, [The old pond]
      9. BABETTE DEUTSCH, [The falling flower]
      10. ETHERIDGE KNIGHT, [Eastern guard tower]
      11. ALLEN GINSBERG, [Looking over my shoulder]
      12. RICHARD WRIGHT, [In the falling snow]
      13. JAMES A. EMANUEL, Ray Charles
    4. Imitating and Answering
      1. *HARRYETTE MULLEN, Dim Lady
      2. *ANNE LAUINGER, Marvell Noir
      3. E. E. CUMMINGS, [(ponder; darling, these busted statues]
      4. KENNETH KOCH, Variations on a Theme by William Carlos Williams
      5. DESMOND SKIRROW, Ode on a Grecian Urn Summarized
      6. *ANTHONY HECHT, The Dover Bitch
    5. Cultural Belief and Tradition
      1. MIRIAM WADDINGTON, Ulysses Embroidered
      2. ALFRED, LORD TENNYSON, Ulysses
      3. SYLVIA PLATH, Lady Lazarus
      4. ALBERTO ALVARO RÍOS, Advice to a First Cousin
      5. LOUISE ERDRICH, Jacklight
    6. *The Garden of Eden: An Album
      1. JOHN HOLLANDER, Adam’s Task
      3. SUSAN DONNELLY, Eve Names the Animals
      4. URSULA K. LE GUIN, She Unnames Them
      5. *ANI DI FRANCO, Adam and Eve (lyrics)

    19. Cultural and Historical Contexts: The Harlem Renaissance

    1. ARNA BONTEMPS, A Black Man Talks of Reaping
    2. COUNTEE CULLEN, Yet Do I Marvel
      1. Saturday’s Child
      2. From the Dark Tower
    3. ANGELINA GRIMKE, The Black Finger
      1. Tenebris
    4. LANGSTON HUGHES, Harlem
      1. The Weary Blues
      2. The Negro Speaks of Rivers
      3. I, Too
    5. HELENE JOHNSON, Sonnet to a Negro in Harlem
    6. CLAUDE MCKAY, Harlem Shadows
      1. If We Must Die
      2. The Tropics in New York
      3. The Harlem Dancer
      4. The White House
    7. JAMES WELDON JOHNSON, from the Preface to The Book of American Negro Poetry
    8. ALAIN LOCKE, from The New Negro
    9. RUDOLPH FISHER, The Caucasian Storms Harlem
    10. W. E. B. DU BOIS, Two Novels
    11. ZORA NEALE HURSTON, How It Feels to Be Colored Me
    12. LANGSTON HUGHES, from The Big Sea [Harlem Literati]

    20. Critical Contexts: Sylvia Plath’s “Daddy”

    1. SYLVIA PLATH, Daddy
    2. GEORGE STEINER, from Dying is an Art
    3. IRVING HOWE, from The Plath Celebration: A Partial Dissent
    4. A. ALVAREZ, from Sylvia Plath
    5. JUDITH KROLL, from Rituals of Exorcism: “Daddy”
    6. MARY LYNN BROE, from Protean Poetic
    7. MARGARET HOMANS, from A Feminine Tradition
    8. PAMELA J. ANNAS, from A Disturbance in Mirrors
    9. STEVEN GOULD AXELROD, from Jealous Gods

    Reading More Poetry

    1. W. H. AUDEN, Musée des Beaux Arts
    2. WILLIAM BLAKE, The Lamb
      1. The Tyger
      2. *The Chimney Sweeper (from Songs of Innocence)
      3. *The Chimney Sweeper (from Songs of Experience)
    3. ROBERT BROWNING, My Last Duchess
    5. JOHN DONNE, [Death, be not proud]
      1. Song
      2. A Valediction: Forbidding Mourning
      1. We Wear the Mask
    7. *T.S. ELIOT, The Love Song of J. Alfred Prufrock
    8. ROBERT FROST, The Road Not Taken
      1. Stopping by Woods on a Snowy Evening
      2. *Home Burial
    9. THOMAS GRAY, Elegy Written in a Country Churchyard
    10. ROBERT HAYDEN, The Whipping
      1. Frederick Douglass
    11. SEAMUS HEANEY, Digging
      1. Punishment
    12. GERARD MANLEY HOPKINS, God’s Grandeur
      1. The Windhover
    13. JOHN KEATS, Ode to a Nightingale
      1. Ode on a Grecian Urn
      2. To Autumn
    14. GALWAY KINNELL, Blackberry Eating
    15. ROBERT LOWELL, Skunk Hour
    16. ANDREW MARVELL, The Garden
    17. PAT MORA, Elena
      1. Gentle Communion
    18. SYLVIA PLATH, Barren Woman
    19. EZRA POUND, In a Station of the Metro
      1. A Virginal
    20. JOHN CROWE RANSOM, Bells for John Whiteside’s Daughter
    21. WALLACE STEVENS, The Emperor of Ice-Cream
      1. Anecdote of the Jar
    22. ALFRED, LORD TENNYSON, Tears, Idle Tears
    23. DYLAN THOMAS, Fern Hill
    24. WALT WHITMAN, Facing West from California’s Shores
      1. I Hear America Singing
      2. A Noiseless Patient Spider
    25. RICHARD WILBUR, Love Calls Us to the Things of This World
    26. WILLIAM WORDSWORTH, Lines Written a Few Miles above Tintern Abbey


    Drama: Reading, Responding, Writing

    1. SUSAN GLASPELL, Trifles
    2. TOM STOPPARD, The Real Inspector Hound
      1. “Reading Notes” on Trifles
      2. Annotation of scene from The Real Inspector Hound
    3. *Student Writing: Reading a ‘Who Done It?’: Stage Directions and Repetition in The Real Inspector Hound

    Understanding the Text

    21. Elements of Drama

    1. HENRIK IBSEN, A Doll House
    2. AUGUST WILSON, The Piano Lesson

    Exploring Contexts

    22. The Author’s Work as Context: William Shakespeare

    1. A Midsummer Night’s Dream
    2. Hamlet

    *23. Performance as Context

    1. *SAMUEL BECKETT, Act Without Words
    2. TENNESSEE WILLIAMS, A Streetcar Named Desire
    3. *SUZAN-LORI PARKS, from 365 Days/365 Plays

    24. Critical Contexts: Sophocles’s Antigone

    1. SOPHOCLES, Antigone
    2. RICHARD C. JEBB, from The Antigone of Sophocles
    3. MAURICE BOWRA, from Sophoclean Tragedy
    4. BERNARD KNOX, Introduction to Sophocles: The Three Theban Plays
    5. MARTHA NUSSBAUM, from The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy
    6. REBECCA BUSHNELL, from Prophesying Tragedy: Sign and Voice in Sophocles’s Theban Plays
    7. MARY WHITLOCK BLUNDELL, from Helping Friends and Harming Enemies: A Study in Sophocles and Greek Ethics
    8. *Student Writing: Jackie Izawa, “The Two Faces of Antigone”

    Reading More Drama

    1. ANTON CHEKHOV, The Cherry Orchard
    2. LORRAINE HANSBERRY, A Raisin in the Sun
    3. ARTHUR MILLER, Death of a Salesman
    4. SOPHOCLES, Oedipus the King

    Writing About Literature

    6. SAMPLE RESEARCH PAPER: RICHARD GIBSON, Keeping the Sabbath Separately: Emily Dickinson's Rebellious Faith