Literature and the Writing Process

Overview

Literature and the Writing Process combines the best elements of a literature anthology with those of a handbook to guide students through the interrelated process of analytical reading and critical writing. Text writing assignments use literature as a tool of critical thought, a method for analysis, and a way of communicating ideas. This approach emphasizes writing as the focus of the book with literature as the means to write effectively. A four-part organization combines a literary anthology with composition ...

See more details below
Paperback (New Edition)
$104.93
BN.com price
(Save 4%)$110.40 List Price

Pick Up In Store

Reserve and pick up in 60 minutes at your local store

Other sellers (Paperback)
  • All (32) from $66.70   
  • New (17) from $94.88   
  • Used (15) from $66.70   
Sending request ...

Overview

Literature and the Writing Process combines the best elements of a literature anthology with those of a handbook to guide students through the interrelated process of analytical reading and critical writing. Text writing assignments use literature as a tool of critical thought, a method for analysis, and a way of communicating ideas. This approach emphasizes writing as the focus of the book with literature as the means to write effectively. A four-part organization combines a literary anthology with composition instruction and a style handbook so students have everything they need at their fingertips.

Read More Show Less

Editorial Reviews

Booknews
This combined introduction to literature and writing guide begins with writing basics, then moves on to specifics: writing about short fiction, structure, imagery and symbolism, point of view, setting and atmosphere, theme, persona and tone, poetic language, poetic form, dramatic structure, and character. Diverse selections make up the anthologies of literature, poetry, and drama that are included. Annotation c. by Book News, Inc., Portland, Or.
Read More Show Less

Product Details

  • ISBN-13: 9780205902279
  • Publisher: Longman
  • Publication date: 1/16/2013
  • Edition description: New Edition
  • Edition number: 10
  • Pages: 1168
  • Sales rank: 476,425
  • Product dimensions: 6.30 (w) x 9.10 (h) x 1.10 (d)

Meet the Author

Elizabeth McMahan is professor emerita of English at Illinois State University. She holds a Ph.D. in nineteenth-century literature from the University of Oregon. While still in graduate school, she wrote her first book, A Crash Course in Composition, published by McGraw Hill. She has taught on every level, from freshman composition to graduate seminars, and has published critical articles on works of literature and teaching composition. She served as the director of writing programs for seven years at Illinois State University. During her academic career, she received an NDEA Title IV Fellowship, the Kester Svendson Dissertation Grant, and the 1978 Illinois Arts Council Essay Award. Since taking early retirement, she has devoted her energies to writing and revising textbooks.

Robert W. Funk taught high school for 10 years before receiving his Ph.D. at the University of Illinois in 1974. He is currently a professor of English at Eastern Illinois University and lectures in grammar, advanced composition, Shakespeare, and methods for teaching English in the secondary school. He has co-authored a number of college-level textbooks with Elizabeth McMahan and Susan Day, including Literature and the Writing Process (6th ed., 2001), The Simon & Schuster Short Prose Reader (2nd ed., 2000), Strategies for College Writing (2000)

He has also lectured at Eureka College and Richland Community College and has presented numerous workshops on composition and the teaching of literature at national and regional conferences, including CCCC and NCTE, and for state and local in-service training sessions. His current research interestsinclude contemporary rhetoric, composition theory, and reader-response criticism.

Susan X Day is an assistant professor of psychology at Iowa State University of Science and Technology in Ames. She pursues two research programs, one concerning personality and the development of interests, and one concerning the use of distance technology in psychotherapy. Dr. Day taught English at Illinois State University for 20 years before beginning her Ph.D. in psychology at University of Illinois in Urbana-Champaign. Her specialties in English studies are writing and pedagogy, and she has done research on the practices of dissertation writers and the identity development of creative writers. In 1999, Dr. Day won the national American Psychological Association-sponsored Outstanding Graduate Student Award for excellence in scholarship and professional development in her field. She is the author and co-author of more than a dozen college textbooks in rhetoric, grammar, and literature, and her research has appeared in prestigious journals such as American Psychologist and Psychological Science.

Read More Show Less

Table of Contents

PART ONE Composing: An Overview

Chapter 1 The Prewriting Process

Reading for Writing

James Joyce, “Eveline”

Who Are My Readers?

Analyze the Audience

Prewriting Exercise

Why Am I Writing?

Reasons for Writing

Prewriting Exercise

What Ideas Should I Use?

Reading and Thinking Critically

Discovering and Developing Ideas

Self-Questioning

Directed Freewriting

Problem Solving

Clustering

Figure 1-1 Directed Freewriting

Figure 1-2 Clustering

What Point Should I Make?

Relate a Part to the Whole

How Do I Find the Theme?

Stating the Thesis

Chapter 2 The Writing Process

How Should I Organize My Ideas?

Arguing Your Interpretation

The Elements of Good Argument

Building an Effective Argument

Arranging the Ideas

Chart 2-1 Checklist for Arguing an Interpretation

Developing with Details

Questions for Consideration

Maintaining a Critical Focus

Distinguishing Critical Comments from Plot Details

How Should I Begin?

Postpone If Nothing Comes

Write an Appealing Opening

State the Thesis

How Should I End?

Relate the Discussion to Theme

Postpone or Write Ahead

Write an Emphatic Final Sentence

Composing the First Draft

Pausing to Rescan

Quoting from Your Sources

Sample Student Paper: First Draft

Chapter 3 Writing a Convincing Argument

Interpreting and Arguing

Identifying Issues

Making Claims

Using Evidence

Using Reasoning

Answering Opposing Views

Organizing Your Argument

Using the Inductive Approach

Making a Counterargument

Arguing Through Comparison

Sample Student Essay

Dagoberto Gilb, “Love in L. A.”

Chapter 4 The Rewriting Process

What Is Revision?

Getting Feedback: Peer Review

Revising in Peer Groups

Chart 4-1 Peer Evaluation Checklist for Revision

What Should I Add or Take Out?

Outlining After the First Draft

Making the Outline

Checking the Outline

Sample After-Writing Outline

Examining the Sample Outline

Outlining Exercise

What Should I Rearrange?

Does It Flow?

What Is Editing?

What Sentences Should I Combine?

Chart 4-2 Transitional Terms for All Occasions

Chart 4-3 Revising Checklist

Combining for Conciseness

Sentence Combining Exercise

Rearranging for Emphasis and Variety

Varying the Pattern

Exercise on Style

Which Words Should I Change?

Check Your Verbs

Use Active Voice Most of the Time

Use Passive If Appropriate

Exercise on Passive Voice

Feel the Words

Exercise on Word Choice

Attend to Tone

Use Formal Language

What Is Proofreading?

Try Reading It Backward

Look for Your Typical Errors

Read the Paper Aloud

Find a Friend to Help

Chart 4-4 Proofreading Checklist

Sample Student Paper: Final Draft

Chapter 5 Researched Writing

Using Library Source in Your Writing

Conducting Your Research

Locating Sources

Using the Online Catalog

Using Indexes and Databases

Using the Internet

Chart 5-1 Internet Sources for Literature

Evaluating Online Sources

Using Reference Works in Print

Working with Sources

Taking Notes

Using a Research Notebook

Using the Printout/Photocopy Option

Figure 5-1 Sample Entry from a Divided-Page Research Notebook

Summarizing, Paraphrasing, and Quoting

Devising a Working Outline

Writing a First Draft

Organizing Your Notes

Using Quotations and Paraphrases

Integrating Sources

Block Quotations

Quoting from Primary Sources

Avoiding Plagiarism

Rewriting and Editing

Documenting Your Sources

Revising the Draft

Formatting Your Paper

Chart 5-2 Checklist for Revising and Editing Researched Writing

Sample Documented Student Paper

Sample Published Article

Explanation of the MLA Documentation Style

In-Text Citations

Preparing the List of Works Cited

Sample Entries for a List of Works Cited

Citing Print Publications

Citing Online Publications

Citing Other Common Sources

PART TWO Writing About Short Fiction

Chapter 6 How Do I Read Short Fiction?

Notice the Structure

Consider Point of View and Setting

Study the Characters

Foils

Look for Specialized Literary Techniques

Examine the Title

Investigate the Author’s Life and Times

Continue Questioning to Discover Theme

Chart 6-1 Critical Questions for Reading the Short Story

Chapter 7 Writing About Structure

What Is Structure?

How Do I Discover Structure?

Looking at Structure

Tim O’Brien, “The Things They Carried”

Prewriting

Finding Patterns

Writing

Grouping Details

Relating Details to Theme

Ideas for Writing

Ideas for Responsive Writing

Ideas for Critical Writing

Ideas for Researched Writing

Rewriting

Integrating Quotations Gracefully

Exercise on Integrating Quotations

Chapter 8 Writing About Imagery and Symbolism

What Are Images?

What Are Symbols?

Archetypal Symbols

Phallic and Yonic Symbols

How Will I Recognize Symbols?

Reference Works on Symbols

Looking at Images and Symbols

Shirley Jackson, “The Lottery”

Prewriting

Interpreting Symbols

Writing

Producing a Workable Thesis

Exercise on Thesis Statements

Ideas for Writing

Ideas for Responsive Writing

Ideas for Critical Writing

Ideas for Researched Writing

Rewriting

Sharpening the Introduction

Sample Student Paper on Symbolism: Second and Final Drafts

Chapter 9 Writing About Point of View

What Is Point of View?

Describing Point of View

Looking at Point of View

Alice Walker, “Everyday Use”

Prewriting

Analyzing Point of View

Writing

Relating Point of View to Theme

Ideas for Writing

Ideas for Responsive Writing

Ideas for Critical Writing

Ideas for Researched Writing

Rewriting

Sharpening the Conclusion

Chapter 10 Writing About Setting and Atmosphere

What Are Setting and Atmosphere?

Looking at Setting and Atmosphere

Tobias Wolff, “Hunters in the Snow”

Prewriting

Examining the Elements of Setting

Writing

Discovering an Organization

Ideas for Writing

Ideas for Responsive Writing

Ideas for Critical Writing

Ideas for Researched Writing

Rewriting

Checking Your Organization

Improving the Style: Balanced Sentences

Sentence Modeling Exercise

Chapter 11 Writing About Theme

What Is Theme?

Looking at Theme

Flannery O'Connor, “A Good Man Is Hard to Find”

Prewriting

Figuring Out the Theme

Stating the Theme

Writing

Choosing Supporting Details

Ideas for Writing

Ideas for Responsive Writing

Ideas for Critical Writing

Ideas for Researched Writing

Rewriting

Achieving Coherence

Checking for Coherence

Editing

Repeat Words and Synonyms

Try Parallel Structure

Casebook: Joyce Carol Oates’s “Where Are You Going, Where Have You Been?”

Joyce Carol Oates (1938- ) “Where Are You Going, Where Have You Been?”

The Story’s Origins

Four Critical Interpretations

Topics for Discussion and Writing

Ideas for Researched Writing

Anthology of Short Fiction

Nathaniel Hawthorne (1804-1864) “The Birthmark”

Edgar Allan Poe (1809-1849) “The Cask of Amontillado”

Kate Chopin (1851-1904) “Désirée’s Baby”

“The Story of an Hour”

Charlotte Perkins Gilman (1860-1935) “The Yellow Wallpaper”

Sherwood Anderson (1876-1941) “Hands”

Katherine Anne Porter (1890-1980) “The Grave”

Zora Neale Hurston (1891-1960) “Spunk”

William Faulkner (1897-1962) “Barn Burning”

Ernest Hemingway (1899-1961) “Hills Like White Elephants”

Langston Hughes (1902-1967) “Salvation”

John Steinbeck (1902-1968) “The Chrysanthemums”

Richard Wright (1908-1960) “The Man Who Was Almost a Man”

Tillie Olsen (1913-2007) “I Stand Here Ironing”

Hisaye Yamamoto (1921- ) “Seventeen Syllables”

Rosario Morales (1930- ) “The Day It Happened”

Chinua Achebe (1930- ) “Dead Men’s Path”

Alice Munro (1931- ) “An Ounce of Cure”

Andre Dubus (1956-1999) “The Fat Girl”

Raymond Carver (1938-1988) “What We Talk About When We Talk About Love”

Toni Cade Bambara (1939-1995) “The Lesson”

Bharati Mukherjee (1940- ) “A Father”

T. Coraghessan Boyle (1948- ) “The Love of My Life”

Sandra Cisneros (1954- ) “Geraldo No Last Name”

Louise Erdrich (1954- ) “The Red Convertible”

Ha Jin (1956- ) “The Bridegroom”

Katherine Min (1959- ) “Secondhand World”

Julie Otsuka (1962- ) “Evacuation Order No. 19”

Sherman Alexie (1966- ) “This Is What It Means to Say Phoenix, Arizona”

A Portfolio of Science Fiction Stories

Ray Bradbury (1920- ) “There Will Come Soft Rains”

Ursula K. Le Guin (1929- ) “The Ones Who Walk Away from Omelas”

Octavia E. Butler (1947-2006) “Speech Sounds”

Kevin Brockmeier (1972- ) “The Year of Silence”

Sample Student Paper: Comparing Dystopias

A Portfolio of Humorous and Satirical Stories

Eudora Welty (1909-2001) “Why I Live at the P. O.”

John Updike (1932-2009) “A & P”

Margaret Atwood (1939- ) “Happy Endings”

Ron Hansen (1947- ) “My Kid’s Dog”

David Sedaris (1956- ) “Nuit of the Living Dead”

A Portfolio of Graphic Stories

Art Spiegelman (1948- ) “Time Flies” from Maus II

Alison Bechdel (1960- ) “Fun Home”

Marjane Satrapi (1969- ) “The Vegetable” from Persepolis 2

PART THREE Writing About Poetry

Chapter 12 How Do I Read Poetry?

Get the Literal Meaning First: Paraphrase

Make Associations for Meaning

Chart 12-1 Critical Questions for Reading Poetry

Chapter 13 Writing About Persona and Tone

Who Is Speaking?

What Is Tone?

Recognizing Verbal Irony

Describing Tone

Looking at Persona and Tone

Theodore Roethke, “My Papa’s Waltz”

W. D. Ehrhart, “The Sins of the Father”

Thomas Hardy, “The Ruined Maid”

W. H. Auden, “The Unknown Citizen”

Edmund Waller, “Go, Lovely Rose”

Dorothy Parker, “One Perfect Rose”

Prewriting

Asking Questions About the Speaker in “My Papa's Waltz”

Devising a Thesis

Considering the Speaker in “The Sins of the Father”

Describing the Tone in “The Ruined Maid”

Developing a Thesis

Describing the Tone in “The Unknown Citizen”

Formulating a Thesis

Determining Tone in “Go, Lovely Rose”

Discovering Tone in “One Perfect Rose”

Writing

Explicating and Analyzing

Ideas for Writing

Ideas for Responsive Writing

Ideas for Critical Writing

Ideas for Researched Writing

Editing

Quoting Poetry in Essays

Sample Student Response on Persona and Tone

Analyzing the Student Response

Chapter 14 Writing About Poetic Language

What Do the Words Suggest?

Connotation and Denotation

Figures of Speech

Metaphor and Simile

Personification

Imagery

Symbol

Paradox

Oxymoron

Looking at Poetic Language

Mary Oliver, “August”

Walt Whitman, “A Noiseless Patient Spider”

William Shakespeare, “Shall I Compare Thee to a Summer’s Day?”

Kay Ryan, “Turtle”

Hayden Carruth, “In the Long Hall”

Donald Hall, “My Son My Executioner”

Prewriting

Examining Poetic Language

Writing

Comparing and Contrasting

Ideas for Writing

Ideas for Responsive Writing

Ideas for Critical Writing

Ideas for Researched Writing

Rewriting

Choosing Vivid, Descriptive Terms

Finding Lively Words

Exercise on Diction

Sample Student Paper on Poetic Language: Second and Final Drafts

Comparison Exercise

Chapter 15 Writing About Poetic Form

What Are the Forms of Poetry?

Rhythm and Rhyme

Chart 15-1 Rhythm and Meter in Poetry

Alliteration, Assonance, and Consonance

Exercise on Poetic Form

Stanzas: Closed and Open Form

Poetic Syntax

Visual Poetry

Looking at the Forms of Poetry

Gwendolyn Brooks, “We Real Cool”

A. E. Housman, “Eight O’Clock”

E. E. Cummings, “anyone lived in a pretty how town”

Wole Soyinka, “Telephone Conversation”

Robert Frost, “The Silken Tent”

Billy Collins, “Sonnet”

Roger McGough, “40-----Love”

Prewriting

Experimenting with Poetic Forms

Writing

Relating Form to Meaning

Ideas for Writing

Ideas for Expressive Writing

Ideas for Critical Writing

Ideas for Researched Writing

Rewriting

Finding the Exact Wor

Sample Student Paper on Poetic Form

Sample Published Essay on Poetic Form:

David Huddle, “The ‘Banked Fire’ of Robert Hayden’s ‘Those Winter Sundays’”

Casebook: The Poetry of Langston Hughes

Langston Hughes: A Brief Biography

“The Negro Speaks of Rivers”

“Mother to Son”

“The Weary Blues”

“Saturday Night”

“Trumpet Player”

“Harlem (A Dream Deferred)”

“Theme for English B”

Considering the Poems

Critical Commentaries

Onwuchekwa Jemie, “Hughes and the Black Controversy”

Margaret Larkin, “A Poet for the People”

Richard Wright, “Forerunner and Ambassador”

Karen Jackson Ford, “Do Right to Write Right: Langston Hughes’s Aesthetics of Simplicity”

Peter Townsend, “Jazz and Langston Hughes’s Poetry”

Langston Hughes, “Harlem Rent Parties”

Ideas for Writing About Langston Hughes

Ideas for Researched Writing

The Art of Poetry

The Art of Poetry

Lisel Mueller (1924- ) “American Literature”

Edward Hopper (1882-1967), Nighthawks, 1942

Samuel Yellen (1906-1983) “Nighthawks”

Susan Ludvigson (1942- ) “Inventing My Parents”

Peter Brueghel the Elder (c. 1525-1569), Landscape with the Fall of Icarus, c. 1554-55

W. H. Auden (1907-1973) “Musée des Beaux Arts”

Paolo Uccello (139-1475), St. George and the Dragon, 1470

U. A. Fanthorpe (1929-2009) “Not My Best Side”

Vincent Van Gogh (1853-1890), The Starry Night, 1889

Anne Sexton (1928-1974) “The Starry Night”

Henri Matisse (1869-1954), The Red Studio, 1911

W. D. Snodgrass (1926-2009) “Matisse: ‘The Red Studio’ ”

Kitagawa Utamaro (1754-1806), Two Women Dressing Their Hair, 1794-1795

Cathy Song (1952- ) “Beauty and Sadness”

The Art of Poetry: Questions for Discussion

Poetry and Art: Ideas for Writing

Sample Student Response: Poetry and Art

Anthology of Poetry

Thomas Wyatt (1503-1542) “They Flee from Me”

William Shakespeare (1564-1616) “When in Disgrace with Fortune and Men’s Eyes”

“Let Me Not to the Marriage of True Minds”

“That Time of Year Thou Mayst in Me Behold”

“My Mistress’ Eyes Are Nothing Like the Sun”

John Donne (1572-1631) “Death, Be Not Proud”

“The Flea”

“A Valediction: Forbidding Mourning”

Andrew Marvell (1621-1678) “To His Coy Mistress”

William Blake (1757-1827) “The Lamb”

“The Tyger”

“The Sick Rose”

“London”

William Wordsworth (1770-1850) “The World Is Too Much with Us”

George Gordon, Lord Byron (1788-1824) “She Walks in Beauty”

Percy Bysshe Shelley (1792-1822) “Ozymandias”

John Keats (1795-1821) “Ode on a Grecian Urn”

Walt Whitman (1819-1892) “When I Heard the Learn’d Astronomer”

Matthew Arnold (1822-1888) “Dover Beach”

Emily Dickinson (1830-1886) “Faith Is a Fine Invention”

“I’m Nobody! Who Are You?”

“He Put the Belt Around My Life”

“Much Madness Is Divinest Sense”

“Because I Could Not Stop for Death”

“Some Keep the Sabbath Going to Church”

“Wild Nights—Wild Nights!”

Gerard Manley Hopkins (1844-1889) “Pied Beauty”

“Spring and Fall”

A. E. Housman (1859-1936) “To an Athlete Dying Young”

“Loveliest of Trees”

William Butler Yeats (1865-1939) “The Second Coming”

“Sailing to Byzantium”

Paul Laurence Dunbar (1872-1906) “We Wear the Mask”

Robert Frost (1874-1963) “Mending Wall”

“Birches”

“ ‘Out, Out—’”

“Fire and Ice”

“Design”

Carl Sandburg (1878-1967) “Fog”

“Chicago”

William Carlos Williams (1883-1963) “Danse Russe”

“The Red Wheelbarrow”

D. H. Lawrence (1885-1930) “Piano”

T. S. Eliot (1888-1965) “The Love Song of J. Alfred Prufrock”

Claude McKay (1890-1948) “America”

Edna St. Vincent Millay (1892-1950) “Oh, Oh, You Will Be Sorry for That Word”

“First Fig”

E. E. Cummings (1894-1962) “in Just- ”

“pity this busy monster,manunkind”

Stevie Smith (1902-1971) “Not Waving but Drowning”

Countee Cullen (1903-1946) “Incident”

Pablo Neruda (1904-1973) “Sweetness, Always”

W. H. Auden (1907-1973) “Funeral Blues”

“Lullaby”

Theodore Roethke (1908-1963) “I Knew a Woman”

Elizabeth Bishop (1911-1979) “One Art”

May Sarton (1912-1995) “AIDS”

Karl Shapiro (1913-2000) “Auto Wreck”

Octavio Paz (1914-1998) “The Street”

Dudley Randall (1914-2000) “Ballad of Birmingham”

“To the Mercy Killers”

Dylan Thomas (1914-1953) “The Force That Through the Green Fuse Drives the Flower”

“Do Not Go Gentle into That Good Night”

Gwendolyn Brooks (1917- 2000)

“Sadie and Maud”

Richard Wilbur (1921- ) “Love Calls Us to the Things of This World”

Philip Larkin (1922-1985) “Home Is So Sad”

James Dickey (1923-1997) “The Leap”

Maxine Kumin (1925- ) “Woodchucks”

Anne Sexton (1928-1974) “You All Know the Story of the Other Woman”

Adrienne Rich (1929- ) “Aunt Jennifer's Tigers”

“Living in Sin”

Ruth Fainlight (1931- ) “Flower Feet”

Sylvia Plath (1932-1963) “Mirror”

Imamu Amiri Baraka (1934- ) “Biography”

Audre Lorde (1934-1992) “Hanging Fire”

Marge Piercy (1936- ) “Barbie Doll”

Seamus Heaney (1939- ) “Digging”

John Lennon (1940-1980) and Paul McCartney (1942- ) “Eleanor Rigby”

Sharon Olds (1942- ) “Sex Without Love”

“The Death of Marilyn Monroe”

Nikki Giovanni (1943- ) “Dreams”

Gina Valdes (1943- ) “My Mother Sews Blouses”

Edward Hirsch (1950- ) “Execution”

Jimmy Santiago Baca (1952- ) “There Are Black”

Judith Ortiz Cofer (1952- ) “Latin Women Pray”

Cornelius Eady (1954- ) “The Supremes”

Louise Erdrich (1954- ) “Indian Boarding School: The Runaways”

Martín Espada (1957- ) “Bully”

Essex Hemphill (1957-1995) “Commitments”

Paired Poems for Comparison

Christopher Marlowe (1564-1593) “The Passionate Shepherd to His Love”

Sir Walter Raleigh (1552?-1618) “The Nymph’s Reply to the Shepherd”

Robert Browning (1812-1889) “My Last Duchess”

Gabriel Spera (1966- ) “My Ex-Husband”

Walt Whitman (1819-1892) “Of the Terrible Doubt of Appearances”

Tony Hoagland (1953- ) “Romantic Moment”

Edwin Arlington Robinson (1869-1935) “Richard Cory”

Paul Simon (1942- ) “Richard Cory”

William Stafford (1914-1993) “Traveling Through the Dark”

Mary Oliver (1935- ) “The Black Snake”

Robert Hayden (1913-1980) “Those Winter Sundays”

George Bilgere (1951- ) “Like Riding a Bicycle”

Gwendolyn Brooks (1917-2000) “The Bean Eaters”

Katha Pollitt (1949- ) “The Old Neighbors”

A Portfolio of Poems about Work

Jean Toomer (1894-1967) “Reapers”

John Updike (1932-2009) “Ex-Basketball Player”

Marge Piercy (1936- ) “To Be of Use”

Rita Dove (1952- ) “Daystar”

Dorianne Laux (1952- ) “What I Wouldn’t Do”

Alberto Ríos (1952- ) “In Second Grade Miss Lee I Promised Never to Forget You and I Never Did”

Lynn Powell (1955- ) “Acceptance Speech”

Stephen Cushman (1956- ) “Beside the Point”

A Portfolio of War Poetry

Richard Lovelace (1618-1657) “To Lucasta, on Going to the Wars”

Stephen Crane (1871-1900) “War Is Kind”

Wilfred Owen (1893-1918) “Dulce et Decorum Est”

E. E. Cummings (1894-1962) “next to of course god america i”

Wislawa Szymborska (1923-2012) “End and Beginning”

Peg Lauber (1938- ) “Six National Guardsmen Blown Up Together”

Yusef Komunyakaa (1947- ) “Facing It”

Dwight Okita (1958- ) “In Response to Executive Order 9066”

A Portfolio of Humorous and Satirical Poetry

Don Marquis (1878-1937) “the lesson of the moth”

Linda Pastan (1932- ) “Marks”

Lucille Clifton (1936-2010) “homage to my hips”

Ron Koertge (1940- ) “Cinderella’s Diary”

Billy Collins (1941- ) “Introduction to Poetry”

Andrea Carlisle (1944- ) “Emily Dickinson’s To-Do List”

Craig Raine (1944- ) “A Martian Sends a Postcard Home”

Jan Beatty (1952- ) “A Waitress’s Instructions on Tipping”

Jeanne Marie Beaumont (1954- ) “Afraid So”

Peter Pereira (1959- ) “Reconsidering the Seven”

PART FOUR Writing About Drama

Chapter 16 How Do I Read a Play?

Listen to the Lines

Visualize the Scene

Envision the Action

Drama on Film

Chart 16-1 Critical Questions for Reading Plays

Chapter 17 Writing About Dramatic Structure

What Is Dramatic Structure?

Looking at Dramatic Structure

Sophocles, Antigone

Prewriting

Analyzing Dramatic Structure

Writing

Discovering a Workable Argumentative Thesis

Quoting from a Play

Ideas for Writing

Ideas for Responsive Writing

Ideas for Critical Writing

Ideas for Researched Writing

Rewriting

Avoiding Unclear Language

Sample Student Paper

Questions for Discussion

Chapter 18 Writing About Character

What Is the Modern Hero?

The Classical Tragic Hero

The Modern Tragic Hero

Looking at the Modern Hero

Tennessee Williams, The Glass Menagerie

Prewriting

Analyzing the Characters

Writing

Choosing a Structure

Ideas for Writing

Ideas for Responsive Writing

Ideas for Critical Writing

Ideas for Researched Writing

Rewriting

Developing Paragraphs Specifically

Exercise on Providing Quotations

Casebook The Glass Menagerie: Interpreting Amanda

Six Critical Interpretations

Burton Rasco, Review of The Glass Menagerie

Howard Taubman, “Diverse, Unique Amanda”

Durant Da Ponte, “Tennessee Williams’ Gallery of Feminine Characters”

Joseph K. Davis, “Landscapes of the Dislocated Mind”

Marc Robinson, “Amanda”

Charles Isherwood, “Gritty Polish for a Tennessee Williams Jewel”

Responding to the Critics

Ideas for Researched Writing

Chapter 19 Writing About Culture

What Is Cultural Analysis?

Looking at Cultural Issues

David Henry Hwang, M. Butterfly

Prewriting

Figure 19-1 Reading Notes

Exploring Cultural Themes

Posing Yourself a Problem

Writing

Refining Your Thesis

Ideas for Writing

Ideas for Responsive Writing

Ideas for Critical Writing

Ideas for Researched Writing

Rewriting

Coordinating Your Introduction and Conclusions

Sample Student Paper on Cultural Issues

Anthology of Drama

William Shakespeare (1564-1616) Othello, the Moor of Venice

Susan Glaspell (1882-1948) Trifles

Lorraine Hansberry (1930-1965) A Raisin in the Sun

A Portfolio of Humorous and Satirical Plays

Fernando Arrabal (1933- ) Picnic on the Battlefield

Jane Martin (1938?- ) Beauty

Luis Valdez (1940- ) Los Vendidos

David Ives (1950- ) Sure Thing

Handbook for Correcting Errors

Proofreading

Correcting Sentence Boundary Errors

Phrases and Clauses

Chart A Examples of Phrases and Clauses

Fragments

Chart B Kinds of Phrases

Chart C Kinds of Clauses

Comma Splices

Run-On Sentences

Clearing Up Confused Sentences

Solving Faulty Predication Problems

Fixing Subject-Verb Agreement Errors

Fixing Pronoun Errors

Correcting Shifts in Person

Correcting Shifts in Tense

Finding Modifier Mistakes

Coping with Irregular Verbs

Getting Verbs Right

Writing in Active Voice

Solving Punctuation Problems

Using Necessary Commas Only

Using Apostrophes

Distinguishing Hyphens from Dashes

Integrating Quotations Gracefully

Punctuating Quoted Material

Writing Smooth Transitions

Critical Approaches for Interpreting Literature

Formalism

Historical Approaches

Biographical

Cultural

Marxist

Psychological Approaches

Mythological and Archetypal Approaches

Gender Focus

Reader Response

Deconstruction

Intertextual Approaches

Where Do You Stand?

Glossary of Literary and Rhetorical Terms

Credits

Index of Authors, Titles, and First Lines of Poetry

Subject Index

Read More Show Less

Preface

This text grew out of our long-standing interest in the possibilities of integrating the study of literature with the practice of composition. Many of our students have learned to write perceptively and well using literature as their subject matter, Great literature is always thought-provoking, always new. Why not utilize it in the pursuit of critical thinking and improved writing? Toward that end, we have combined an introduction to literature with instruction in writing.

Literature and the Writing Process, Sixth Edition, presents literary selections as materials for students to read and write about, not as models for them to emulate. The text is designed to guide students through the allied processes of analytical reading and critical writing. To provide a wide range of options for writing, we have included responsive writing topics as well as critical writing topics in each chapter.

The writing instruction, concurrent with the literacy study, follows the widely accepted order of beginning with larger questions of content and organization and proceeding to the particular matters, such as word choice, sentence structure, and manuscript form. On the difficult matters of devising a sound thesis and discovering theme in a literary work, we provide detailed guidance. In order to furnish a clear understanding of writing as process, we produce as illustrations throughout Part I the complete protocol that one of our students followed in preparing an essay; we include samples of her prewriting, drafting, postwriting outlining, revising, editing, and final draft. In Chapter 17 on researched writing, we have included a summary of the steps another student followedin preparing her research paper on a contemporary play. Her reading notes show how she arrived at a thesis for her documented paper, which also appears. Four additional student essays are included: one illustrating the incorporation of library resources in analyzing a short story; one offers an unusual response to a poem; and two demonstrate the revising process by showing annotated first drafts, followed by finished versions.

In this revision we have further expanded the diversity of our literary selections. As always, we have been guided by the advice of our reviewers. New in this edition are three casebooks for study: the first, on Joyce Carol Oates's "Where Are You Going, Where Have You Been?" (p. 148); the second, on love poetry through the ages (p. 459); and the third, on Tennessee Williams's The Glass Menagerie (p. 700). Also new are guidelines for arguing an interpretation (p. 19), suggestions for using film and video when studying drama (p. 600), and a summary of current critical approaches to literature (p. 1122). We have also expanded the discussion of peer review in Chapter 3, rewritten Chapter 8 to focus on a short story by Tobias Wolff, and added a second table of contents showing the literary selections arranged by genre.

Finally, a word about our Companion Website at providing free access to online study resources. It now includes author photos; study questions designed to enhance understanding; a writing-about-literature section offering prompts for setting up an outline; a number of author links for research; a time line for the literary selections providing historical, political, and cultural context; and a .major technological improvement: a navigational bar allowing users to go directly to an author's last name to find information rather than searching by chapter. A "Web Link" icon placed in the margins throughout the text alerts students that there are additional resources on the Website to support the instruction in the text.

Another electronic feature that instructors will find valuable is www turnitin.com. This online service makes it easy for teachers to find out if students are copying their assignments from the Internet and is now free to professors using Literature and the Writing Process, Sixth Edition. Besides helping educators easily identify instances of web-based student plagiarism, Turnitin.com also offers digital archiving system and an online peer review service. Professors set up a "drop box" at the Turnitin.com website where their students submit papers. Turnitin.com then cross references each submission with millions of possible online sources. Within 24 hours, teachers receive a customized, color-coded "Originality Report," complete with live links to suspect Internet locations, for each submitted paper. To access this site for free, professors must visit the site via the faculty resources section of the Companion Website at.

Our sincere thanks go to the reviewers who helped us craft this sixth edition: Ann Brickhouse, University of Colorado, Boulder; John Christie, Capital Community College; Barbara Goldstein, Hillsborough Community College; Sarah H. Harrison, Tyler Junior College; Donna L. Pasternak, Marshall University; Michael Steinman, Nassau Community College.

Thanks also to the excellent Prentice Hall staff, who have cooperated at every step in preparing this new edition: our editor, Carrie Brandon; her editorial assistant, Tom DeMarco; Senior Managing Editor Mary Rottino; and Production Editor Randy Pettit.

To Dan LeSeure, Brian Carter, and Bill Weber: our warm appreciation for supporting us with patience, encouragement, coffee, and comfort.

Elizabeth McMahan
Susan X Day
Robert Funk

Read More Show Less

Introduction

This text grew out of our long-standing interest in the possibilities of integrating the study of literature with the practice of composition. Many of our students have learned to write perceptively and well using literature as their subject matter, Great literature is always thought-provoking, always new. Why not utilize it in the pursuit of critical thinking and improved writing? Toward that end, we have combined an introduction to literature with instruction in writing.

Literature and the Writing Process, Sixth Edition, presents literary selections as materials for students to read and write about, not as models for them to emulate. The text is designed to guide students through the allied processes of analytical reading and critical writing. To provide a wide range of options for writing, we have included responsive writing topics as well as critical writing topics in each chapter.

The writing instruction, concurrent with the literacy study, follows the widely accepted order of beginning with larger questions of content and organization and proceeding to the particular matters, such as word choice, sentence structure, and manuscript form. On the difficult matters of devising a sound thesis and discovering theme in a literary work, we provide detailed guidance. In order to furnish a clear understanding of writing as process, we produce as illustrations throughout Part I the complete protocol that one of our students followed in preparing an essay; we include samples of her prewriting, drafting, postwriting outlining, revising, editing, and final draft. In Chapter 17 on researched writing, we have included a summary of the steps another student followed inpreparing her research paper on a contemporary play. Her reading notes show how she arrived at a thesis for her documented paper, which also appears. Four additional student essays are included: one illustrating the incorporation of library resources in analyzing a short story; one offers an unusual response to a poem; and two demonstrate the revising process by showing annotated first drafts, followed by finished versions.

In this revision we have further expanded the diversity of our literary selections. As always, we have been guided by the advice of our reviewers. New in this edition are three casebooks for study: the first, on Joyce Carol Oates's "Where Are You Going, Where Have You Been?" (p. 148); the second, on love poetry through the ages (p. 459); and the third, on Tennessee Williams's The Glass Menagerie (p. 700). Also new are guidelines for arguing an interpretation (p. 19), suggestions for using film and video when studying drama (p. 600), and a summary of current critical approaches to literature (p. 1122). We have also expanded the discussion of peer review in Chapter 3, rewritten Chapter 8 to focus on a short story by Tobias Wolff, and added a second table of contents showing the literary selections arranged by genre.

Finally, a word about our Companion Website providing free access to online study resources. It now includes author photos; study questions designed to enhance understanding; a writing-about-literature section offering prompts for setting up an outline; a number of author links for research; a time line for the literary selections providing historical, political, and cultural context; and a major technological improvement: a navigational bar allowing users to go directly to an author's last name to find information rather than searching by chapter. A "Web Link" icon placed in the margins throughout the text alerts students that there are additional resources on the Website to support the instruction in the text.

Another electronic feature that instructors will find valuable is turnitin.com. This online service makes it easy for teachers to find out if students are copying their assignments from the Internet and is now free to professors using Literature and the Writing Process, Sixth Edition. Besides helping educators easily identify instances of web-based student plagiarism, Turnitin.com also offers digital archiving system and an online peer review service. Professors set up a "drop box" at the Turnitin.com website where their students submit papers. Turnitin.com then cross references each submission with millions of possible online sources. Within 24 hours, teachers receive a customized, color-coded "Originality Report," complete with live links to suspect Internet locations, for each submitted paper. To access this site for free, professors must visit the site via the faculty resources section of the Companion Website.

Our sincere thanks go to the reviewers who helped us craft this sixth edition: Ann Brickhouse, University of Colorado, Boulder; John Christie, Capital Community College; Barbara Goldstein, Hillsborough Community College; Sarah H. Harrison, Tyler Junior College; Donna L. Pasternak, Marshall University; Michael Steinman, Nassau Community College.

Thanks also to the excellent Prentice Hall staff, who have cooperated at every step in preparing this new edition: our editor, Carrie Brandon; her editorial assistant, Tom DeMarco; Senior Managing Editor Mary Rottino; and Production Editor Randy Pettit.

To Dan LeSeure, Brian Carter, and Bill Weber: our warm appreciation for supporting us with patience, encouragement, coffee, and comfort.

Elizabeth McMahan
Susan X Day
Robert Funk

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)