Perfect Introduction to Literature 1
Introduction to Literature
4-5 pages book : Kelly J. Mays’s Norton Introduction to Literature, Shorter 12th edition
Eng 125
Prof Bever
Final Exam
Choose ONE of the following topics and write a four- to five-page essay (double-spaced, Times New Roman, 1-inch margins) using MLA style formatting and citations. You should quote from the source texts as well as at least three other scholarly sources. These can include, but should not be limited to, the critical readings/essays/excerpts from the Norton anthology. Explore what is available through the NOVA and/or public library as well as the databases that NOVA gives you access to, as there is a wealth of excellent material in those places as well.
1) Write an essay on the topic of Hamlet’s madness; which (if any) of his actions are due to true madness and which are merely an “antic disposition” meant to mislead others?
2) Read William Blake’s Songs of Innocence and Songs of Experience. How do the poems in each embody the respective nature of innocence and experience? Note the parallels that exist between the two sets of poems and discuss how they interact with/build on/contrast one another.
4) Using at least four of the works (stories, poems, plays) from anywhere in the anthology discuss the differing approaches to and portrayals of warfare across different time periods and from different perspectives.
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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.
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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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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
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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
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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
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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
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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
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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Selection is not included for permissions reasons.
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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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