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xiii | |
| Preface |
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xix | |
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1 | (59) |
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1 | (2) |
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1 | (1) |
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Author-Oriented Approaches |
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2 | (1) |
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Reader-Oriented Approaches |
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2 | (1) |
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3 | (4) |
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Theme/Tone/Imagery/Diction/Syntax |
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3 | (3) |
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Review: Reading and Analyzing Essays |
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6 | (1) |
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Point of View/Setting/Style/Character/Plot/Theme |
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7 | (4) |
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Review: Reading and Writing about Short Stories |
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11 | (1) |
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12 | (9) |
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Speaker and Situation/Theme/Tone/Diction/Syntax/Imagery/Sound |
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12 | (8) |
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Review: Reading and Writing about Poems |
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20 | (1) |
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21 | (6) |
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Performance versus Reading: Stage Directions/Setting/Style/Character/Plot/Theme |
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21 | (5) |
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Review: Reading and Writing about Plays |
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26 | (1) |
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27 | (16) |
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28 | (1) |
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Brainstorming/Freewriting/Clustering/Keeping a Journal/Narrowing the Topic/Developing a Thesis Statement/Focusing Your Paper/Defining the Purpose |
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28 | (4) |
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32 | (1) |
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Finding Sources/Selecting Material/Documenting Sources |
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32 | (3) |
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35 | (1) |
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Blocking and Planning/Identifying Your Audience |
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35 | (1) |
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35 | (2) |
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Getting Started: Writing Your Introduction/Developing Paragraphs and Making Transitions/Concluding Well |
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37 | (2) |
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39 | (1) |
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Using Active Voice/Grammar and Punctuation/Proofreading Effectively |
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39 | (4) |
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Ways to Write about Literature |
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43 | (3) |
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The Literary Response Essay |
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43 | (1) |
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The Comparison/Contrast Essay |
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44 | (1) |
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The Critical Analysis Essay |
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44 | (1) |
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45 | (1) |
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45 | (1) |
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Writing a Strong Argumentative Essay |
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46 | (14) |
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48 | (1) |
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48 | (1) |
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Evaluating and Using Sources |
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49 | (11) |
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60 | (202) |
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62 | (2) |
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64 | (3) |
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67 | (4) |
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Bramare: (Archaic) To Yearn For |
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71 | (13) |
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84 | (6) |
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The Parable of the Prodigal Son |
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90 | (2) |
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92 | (9) |
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101 | (25) |
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126 | (10) |
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136 | (8) |
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Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play The Star-Spangled Banner at Woodstock |
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144 | (7) |
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151 | (3) |
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154 | (1) |
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155 | (2) |
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157 | (1) |
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There Is No Word for Goodbye |
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158 | (2) |
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160 | (1) |
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161 | (1) |
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My Father Is a Simple Man |
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162 | (2) |
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164 | (2) |
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The House on Moscow Street |
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166 | (2) |
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Improvisation for Piano: After Mood Indigo |
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168 | (2) |
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170 | (1) |
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171 | (2) |
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173 | (5) |
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Casebook on August Wilson |
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Writing about Relationships |
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178 | (84) |
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178 | (56) |
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The Dramatic Vision of August Wilson |
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234 | (8) |
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Boundaries, Logistics, and Identity: The Property of Metaphor in Fences and Joe Turner's Come and Gone |
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242 | (5) |
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Filling the Time: Reading History in the Drama of August Wilson |
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247 | (4) |
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251 | (3) |
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An Interview with August Wilson |
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254 | (2) |
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256 | (4) |
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Family: Suggestions for Writing |
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260 | (1) |
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Family: Writing about Film |
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261 | (1) |
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262 | (286) |
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Writing about Men and Women |
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264 | (2) |
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266 | (5) |
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271 | (9) |
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Here's to You Mrs. Robinson |
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280 | (4) |
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284 | (10) |
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Beyond the Cult of Fatherhood |
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294 | (9) |
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Americanization Is Tough on ``Macho'' |
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303 | (2) |
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Rose del Castillo Guilbault |
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305 | (9) |
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314 | (13) |
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327 | (6) |
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333 | (13) |
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346 | (10) |
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Hills Like White Elephants |
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356 | (4) |
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360 | (17) |
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377 | (14) |
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Sonnets 116, 130, and 138 |
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391 | (2) |
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A Valediction: Forbidding Mourning |
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393 | (1) |
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394 | (2) |
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396 | (1) |
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Elizabeth Barrett Browning |
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397 | (1) |
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398 | (2) |
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400 | (2) |
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402 | (1) |
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403 | (1) |
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404 | (4) |
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The Death of the Hired Man |
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408 | (4) |
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412 | (2) |
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414 | (1) |
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415 | (1) |
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416 | (1) |
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417 | (3) |
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420 | (2) |
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422 | (2) |
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424 | (1) |
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425 | (2) |
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427 | (2) |
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Courtship from Beulah and Thomas |
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429 | (2) |
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431 | (1) |
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432 | (60) |
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Writing about Men and Women |
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492 | (56) |
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493 | (2) |
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495 | (2) |
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497 | (1) |
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498 | (1) |
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499 | (1) |
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500 | (1) |
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500 | (3) |
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On Writing from The Journals of Sylvia Plath |
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503 | (3) |
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506 | (10) |
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Fueling the Phoenix Fire: The Manuscripts of Sylvia Plath's ``Lady Lazarus'' |
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516 | (13) |
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529 | (2) |
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531 | (3) |
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``Daddy'': Sylvia Plath's Debt to Anne Sexton |
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534 | (3) |
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Colossal Influences on Sylvia Plath |
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537 | (4) |
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541 | (5) |
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Men and Women: Suggestions for Writing |
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546 | (1) |
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Men and Women: Writing about Film |
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547 | (1) |
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548 | (320) |
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Writing about Fear and Loss |
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550 | (2) |
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Terrorism: The Problem of Definition Revisited |
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552 | (13) |
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Yom Kippur: The Day Without Forgiveness |
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565 | (5) |
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570 | (9) |
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579 | (5) |
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584 | (5) |
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589 | (18) |
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607 | (8) |
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615 | (8) |
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623 | (3) |
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626 | (13) |
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639 | (12) |
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651 | (12) |
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663 | (1) |
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664 | (1) |
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665 | (1) |
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666 | (2) |
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668 | (1) |
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669 | (1) |
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670 | (1) |
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670 | (1) |
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671 | (2) |
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673 | (1) |
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anyone lived in a pretty how town |
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674 | (1) |
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Drama for Winter Night (Fifth Avenue) |
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675 | (1) |
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676 | (1) |
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The Death of the Ball Turret Gunner |
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677 | (1) |
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678 | (1) |
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Do Not Go Gentle into That Good Night |
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679 | (2) |
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681 | (2) |
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University Hospital, Boston |
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683 | (1) |
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684 | (2) |
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686 | (2) |
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Try to Praise the Mutilated World |
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688 | (1) |
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689 | (1) |
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Othello, the Moor of Venice |
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690 | (114) |
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Writing about Fear and Loss |
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804 | (64) |
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805 | (13) |
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818 | (16) |
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Amy Tan: A Critical Companion |
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834 | (16) |
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Chinese American Women, Language, and Moving Subjectivity |
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850 | (8) |
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The Salon Interview: Amy Tan, The Spirit Within |
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858 | (4) |
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862 | (3) |
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Fear and Loss: Suggestions for Writing |
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865 | (1) |
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Fear and Loss: Writing about Film |
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866 | (2) |
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Freedom and Responsibility |
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868 | (186) |
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Writing about Freedom and Responsibility |
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870 | (2) |
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872 | (7) |
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The Declaration of Independence |
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879 | (3) |
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882 | (2) |
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The Slave Who Dared to Feel Like a Man |
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884 | (8) |
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Letter from Birmingham City Jail |
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892 | (14) |
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906 | (6) |
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912 | (6) |
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918 | (31) |
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The Ones Who Walk Away from Omelas |
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949 | (6) |
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955 | (6) |
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961 | (1) |
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The World Is Too Much with Us |
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962 | (1) |
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963 | (2) |
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A Man Said to the Universe |
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965 | (1) |
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966 | (1) |
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966 | (2) |
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The Conscientious Objector |
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968 | (2) |
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The Woman at the Washington Zoo |
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970 | (1) |
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971 | (2) |
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973 | (1) |
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973 | (2) |
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975 | (1) |
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The Woman Hanging from the Thirteenth Floor Window |
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976 | (2) |
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In Response to Executive Order 9066: All Americans of Japanese Descent Must Report to Relocation Centers |
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978 | (2) |
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980 | (13) |
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993 | (61) |
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993 | (13) |
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How to Tell a True War Story |
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1006 | (10) |
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1016 | (4) |
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The Undying Uncertainty of the Narrator in Tim O'Brien's The Things They Carried |
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1020 | (10) |
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``How to Tell a True War Story'': Metafiction in The Things They Carried |
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1030 | (8) |
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Getting It Right: The Short Fiction of Tim O'Brien |
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1038 | (8) |
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1046 | (6) |
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Freedom and Responsibility: Suggestions for Writing |
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1052 | (1) |
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Freedom and Responsibility: Writing about Film |
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1053 | (1) |
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1054 | (156) |
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Writing about Imagination and Reality |
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1056 | (2) |
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1058 | (10) |
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My One Conversation with Collin Walcott |
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1068 | (7) |
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1075 | (3) |
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There Will Come Soft Rains |
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1078 | (6) |
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1084 | (9) |
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Naked Woman Playing Chopin: A Fargo Romance |
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1093 | (11) |
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1104 | (3) |
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1107 | (1) |
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1108 | (1) |
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1109 | (1) |
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Constantly Risking Absurdity |
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1110 | (1) |
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1111 | (2) |
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1113 | (1) |
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1114 | (1) |
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today is a day of great joy |
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1115 | (1) |
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1116 | (2) |
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1118 | (36) |
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Casebook on Joyce Carol Oates |
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Writing about Imagination and Reality |
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1154 | (56) |
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Where Are You Going, Where Have You Been? |
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1154 | (14) |
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1168 | (12) |
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``Don't You Know Who I Am?'' The Grotesque in Oates's ``Where Are You Going, Where Have You Been?'' |
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1180 | (6) |
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The Pied Piper of Tucson: He Cruised in a Golden Car, Looking for the Action |
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1186 | (8) |
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O'Connor's Mrs. May and Oates's Connie: An Unlikely Pair of Religious Initiates |
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1194 | (8) |
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1202 | (5) |
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Imagination and Reality: Suggestions for Writing |
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1207 | (1) |
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Imagination and Reality: Writing about Film |
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1207 | (3) |
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1210 | (188) |
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1212 | (2) |
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1214 | (6) |
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1220 | (7) |
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1227 | (3) |
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1230 | (4) |
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1234 | (6) |
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1240 | (8) |
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1248 | (6) |
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The Conversion of the Jews |
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1254 | (12) |
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1266 | (7) |
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And of Clay Are We Created |
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1273 | (9) |
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1282 | (1) |
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1282 | (1) |
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1283 | (1) |
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1284 | (1) |
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1285 | (1) |
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1286 | (1) |
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1287 | (2) |
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1289 | (1) |
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1290 | (1) |
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The Love Song of J. Alfred Prufrock |
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1291 | (5) |
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1296 | (1) |
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Carriers of the Dream Wheel |
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1297 | (1) |
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An Old Mountain Woman Reading the Book of Job |
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1298 | (2) |
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1300 | (2) |
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1302 | (1) |
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1303 | (41) |
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Casebook on Flannery O'Connor |
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1344 | (54) |
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A Good Man Is Hard to Find |
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1344 | (13) |
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1357 | (17) |
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The Fiction Writer and His Country |
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1374 | (2) |
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The Search for Redemption: Flannery O'Connor's Fiction |
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1376 | (4) |
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Violence and the Grotesque |
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1380 | (6) |
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Understanding Flannery O'Connor: Greenleaf |
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1386 | (3) |
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1389 | (6) |
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Quest: Suggestions for Writing |
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1395 | (1) |
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Quest: Writing about Film |
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1396 | (2) |
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Appendix A: Critical Approaches to Literature |
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1398 | (5) |
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Appendix B: Writing about Film: The Matrix and The Lord of the Rings as Case Studies, by Patrick McCord |
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1403 | (30) |
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1426 | (7) |
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Appendix C: Documenting a Research Paper: MLA Style Sheet |
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1433 | (20) |
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1446 | (7) |
| Glossary |
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1453 | (8) |
| Acknowledgments |
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1461 | (12) |
| Index |
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1473 | |
Other versions by this Author
