Literature & Composition: Reading - Writing - Thinking / Edition 1

Literature & Composition: Reading - Writing - Thinking / Edition 1

by Carol Jago, Renee H. Shea, Lawrence Scanlon, Robin Dissin Aufses

From Carol Jago and the authors of The Language of Composition comes the first textbook designed specifically for the AP* Literature and Composition course. Arranged thematically to foster critical thinking, Literature & Composition: Reading • Writing • Thinking offers a wide variety of classic and contemporary literature, plus all of

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From Carol Jago and the authors of The Language of Composition comes the first textbook designed specifically for the AP* Literature and Composition course. Arranged thematically to foster critical thinking, Literature & Composition: Reading • Writing • Thinking offers a wide variety of classic and contemporary literature, plus all of the support students need to analyze it carefully and thoughtfully. The book is divided into two parts: the first part of the text teaches students the skills they need for success in an AP Literature course, and the second part is a collection of thematic chapters of literature with extensive apparatus and special features to help students read, analyze, and respond to literature at the college level. Only Literature & Composition has been built from the ground up to give AP students and teachers the materials and support they need to enjoy a successful and challenging AP Literature course.

Use the navigation menu on the left to learn more about the selections and features in Literature & Composition: Reading • Writing • Thinking.
*AP and Advanced Placement Program are registered trademarks of the College Entrance Examination Board, which was not involved in the publication of and does not endorse this product.

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Product Details

Bedford/St. Martin's
Publication date:
Edition description:
First Edition
Sales rank:
Product dimensions:
6.70(w) x 9.20(h) x 1.70(d)

Table of Contents

1. Thinking About Literature

       Emily Dickinson, Tell all the Truth but tell it slant—
       Stephen Dunn, The Sacred
       William Shakespeare, When my love swears that she is made of truth
       David Clewell, Vegetarian Physics

Why Study Literature?
       Elizabeth Alexander, Praise Song for the Day
       Charles Schultz, Peanuts (cartoon)

What Makes an Effective Reader?
       David Ignatow,
The Bagel
       Albert Goldbarth, Shawl
       Billy Collins, Introduction to Poetry
       Sherman Alexie, From Superman and Me
       Franz Wright, Learning to Read
Approaching Literature
     Robert Frost,
“Out, Out—,”
     Julia Alvarez, Snow
2. Close Reading: Analyzing Poetry and the Passage of Fiction
What Is Close Reading?

First-Impression Questions
       Willa Cather, from
My Antonia
       A. E. Housman, To an Athlete Dying Young

The Elements of Style
      Figurative Language
      Tone and Mood
      A Sample Close Analysis
            Eudora Welty, from Old Mr. Marblehall
            F. Scott Fitzgerald, from The Great Gatsby
     Special Considerations for Reading Poetry Closely

           Poetic Syntax
                William Carlos Williams,
The Red Wheelbarrow
                John Keats, Bright Star would I were stedfast as thou art—
           A Sample Close Analysis
                Robert Herrick,
Delight in Disorder
                Simon Ortiz, My Father’s Song

Talking with the Text
     Think Aloud
            Christina Georgina Rossetti,
Promises like Pie-Crust
            William Shakespeare,
When, in disgrace with Fortune and men’s eyes
     Graphic Organizer 
             Nathaniel Hawthorne, from
The Scarlet Letter

From Analysis to Essay: Writing a Close Analysis
            Yusef Komunyakaa,
Slam, Dunk, & Hook 
     Developing a Thesis Statement
     Organizing a Close Analysis Essay
     Integrating Quotations
     Documenting Sources
     A Sample Close Analysis Essay
           Carlton Curtis,
The Beauty and Danger of Basketball (student writing)
           Edward Hirsch, Fast Break

Working with Two Texts: The Comparison and Contrast Essay
     Developing a Thesis Statement
     Organizing a Comparison and Contrast Essay
     Documenting Sources
     A Sample Comparison and Contrast Essay
          Talat Rubin,
One Game, Two Lives (student writing)
          William Stafford, Traveling through the Dark
          Maxine Kumin, Woodchucks

3. The Big Picture: Analyzing Fiction and Drama
Elements of Fiction
          Gabriel García Márquez,
One of These Days
          Jane Austen, from
Pride and Prejudice
          Charles Dickens, from Hard Times  
          Edgar Allan Poe, from
The Masque of the Red Death
          John Steinbeck, from The Grapes of Wrath
          Henry Roth, from Call It Sleep
          George Orwell, from 1984
          Thomas Hardy, from Tess of the D’Urbervilles
     Point of View
          Dinaw Mengestu, from
The Beautiful Things That Heaven Bears
          Mark Twain, from The Adventures of Huckleberry Finn
          Katherine Mansfield, from Miss Brill
          Shirley Jackson, from The Lottery
          Virginia Woolf, from Mrs. Dalloway
          Brad Watson, Seeing Eye
          Suzanne Berne, from A Crime in the Neighborhood
          Mary Shelley, from Frankenstein
          Colm Tóibín, from Brooklyn
          Edward P. Jones,
The First Day
          Jamaica Kincaid, Girl

Special Considerations for Analyzing Drama
          George Bernard Shaw,
          William Shakespeare, from Othello, the Moor of Venice
          Henrik Ibsen, from
A Doll’s House
          Lorraine Hansberry, from A Raisin in the Sun
          D. L. Coburn, from
The Gin Game
          Terrence McNally, Andre’s Mother

From Analysis to Essay: Writing an Interpretive Essay
          Susan Glaspell,
     Analyzing Literary Elements
     Developing a Thesis Statement
     Planning an Interpretive Essay
     Supporting Your Interpretation
     A Sample Interpretive Essay
          Aneyn M. O’Grady,
Student Essay on Trifles
4. Entering the Conversation 

Conversation: Coming to America
The New Colossus (poetry)
     LEWIS W. HINE, Playground in Tenement Alley, Boston, 1909 (photography)
     LANGSTON HUGHES, Let America Be America Again (poetry)
     DWIGHT OKITA, In Response to Executive Order 9066: All Americans of Japanese
          Descent Must Report to Relocation Centers (poetry)
     PAT MORA, Immigrants (poetry)
     AMY TAN, Two Kinds (fiction)
     JUDITH ORTIZ COFER, The Latin Deli (poetry)
     BHARATI MUKHERJEE, Two Ways to Belong in America (nonfiction)

Writing an Essay Using Multiple Texts
     Developing a Thesis Statement
     Organizing a Documented Essay
     Using Literary Texts as Evidence
     Integrating Quotations
     Including Personal Experience as Evidence
     A Sample Essay Using Multiple Texts
          Maddie Ramey,
“The Golden Door”: The Ideals of “The New Colossus” in American
          Today (student writing)
5. Home and Family
Happy families are all alike; every unhappy family is unhappy in its own way.
     — Leo Tolstoy, Anna Karenina
Classic Text 
     JAMES JOYCE, The Dead
Modern Text 
     F. SCOTT FITZGERALD, Babylon Revisited
     TILLIE OLSEN, I Stand Here Ironing
          Helena María Viramontes on Writing
     MAY-LEE CHAI, Saving Sourdi
     THOMAS BASTARD, De Puero Balbutiente
     BEN JONSON, On My First Son
     ANNE BRADSTREET, Before the Birth of One of Her Children
     WILLIAM BUTLER YEATS, A Prayer for My Daughter
     LANGSTON HUGHES, Mother to Son
     THEODORE ROETHKE, My Papa’s Waltz
     ROBERT HAYDEN, Those Winter Sundays
     SYLVIA PLATH, Daddy
     SHARON OLDS, Rite of Passage
     LINDA PASTAN, Marks
     MARY OLIVER, Wild Geese
     LI-YOUNG LEE, The Hammock
     KEVIN YOUNG, Cousins
Paired Poems
     EAVAN BOLAND, The Pomegranate
     RITA DOVE, The Bistro Styx
Visual Text
     The Lure and Language of Food
     VINCENT VAN GOGH, The Potato-Eaters (painting)
     RALPH ELLISON, I Yam What I Am (fiction)
     NAOMI SHIHAB NYE, My Father and the Figtree (poetry)
     LAURA ESQUIVEL, January: Christmas Rolls (fiction)
     LISA PARKER, Snapping Beans (poetry)
     CHRIS OFFUTT, Brain Food (nonfiction)
     GEETA KOTHARI, If You Are What You Eat, Then What Am I? (nonfiction)
Student Writing  
    Analyzing Paired Poems: Style in "My Papa's Waltz" and "Those Winter Sundays"
The Writer’s Craft — Close Reading   
Suggestions for Writing     
    Home and Family
6. Identity and Culture
No man, for any considerable period, can wear one face to himself, and another to the multitude, without finally getting bewildered as to which may be the true.
     — Nathaniel Hawthorne,
The Scarlet Letter
Classic Text 
     JOSEPH CONRAD, Heart of Darkness
Modern Text
     JHUMPA LAHIRI, Interpreter of Maladies
     NATHANIEL HAWTHORNE, Young Goodman Brown
     JOYCE CAROL OATES, Where Are You Going, Where Have You Been?
     ANA MENÉNDEZ, In Cuba I Was a German Shepherd 
     JOHN MILTON, When I consider how my light is spent
     ALEXANDER POPE, The Quiet Life
     WILLIAM WORDSWORTH, The World Is Too Much with Us
     EMILY DICKINSON, I’m Nobody! Who are you?
     E. E. CUMMINGS, the Cambridge ladies who live in furnished souls
     COUNTEE CULLEN, Heritage
     DYLAN THOMAS, Fern Hill
     MAHMOUD DARWISH, Identity Card
     GARY SOTO, Mexicans Begin Jogging
     SHERMAN ALEXIE, The Powwow at the End of the World
     JULIA ALVAREZ, First Muse
     NATHALIE HANDAL, Caribe in Nueva York
          Nathalie Handal on Writing
Paired Poems
     ELIZABETH BARRETT BROWNING, To George Sand: A Recognition
Visual Texts 
     FRIDA KAHLO, Self-Portrait on the Borderline between Mexico and the United States
     FRIDA KAHLO, Self-Portrait Dedicated to Leon Trotsky
     The Legacy of Colonialism
     The Colonization of Africa, 1880–1939 (map)
     RUDYARD KIPLING, The White Man’s Burden (poetry)
     H. T. JOHNSON, The Black Man's Burden (poetry)
     DORIS LESSING, The Old Chief Mshlanga (fiction) 
     FELIX MNTHALI, The Stranglehold of English Lit (poetry)
     CHINUA ACHEBE, An Image of Africa (nonfiction)
     BINYAVANGA WAINAINA, How to Write about Africa (nonfiction)
Student Writing  
     Close Reading Fiction: Characterization in Inerprter of Maladies
The Writer’s Craft — Close Reading
     Specialized, Archaic, and Unfamiliar Diction
Suggestions for Writing     
     Identity and Culture
7. Love and Relationships
Ay me! for aught that I could ever read,
Could ever hear by tale or history,
The course of true love never did run smooth;
     — William Shakespeare, A Midsummer Night’s Dream
Classic Text 
     OSCAR WILDE, The Importance of Being Earnest: A Trivial Comedy for Serious People
Modern Text 
     SANDRA CISNEROS, Woman Hollering Creek
     ANTON CHEKHOV, The Lady with the Little Dog
     WILLIAM FAULKNER, A Rose for Emily
     DAGOBERTO GILB, Love in L.A.
     THOMAS WYATT, They flee from me
     SIR PHILIP SYDNEY, Leave me, O Love, which reachest but to dust
     JOHN DONNE, The Flea
     ROBERT HERRICK, To the Virgins, to Make Much of Time
     LORD BYRON, She walks in Beauty
     EDNA ST. VINCENT MILLAY, Love is not all
     MARGARET ATWOOD, Siren Song
     BILLY COLLINS, Weighing the Dog
     JANE HIRSHFIELD, This was once a love poem
Paired Poems
     WILLIAM SHAKESPEARE, My mistress’ eyes are nothing like the sun
     PABLO NERUDA, Mi fea: Soneta XX
     PABLO NERUDA, My ugly love: Sonnet XX
Visual Text
     GUSTAV KLIMT, The Kiss
     LAWRENCE FERLINGHETTI, Short Story on a Painting of Gustav Klimt
     Courtship: The Rules of Engagement
     ANDREAS CAPELLANUS, from The Art of Courtly Love (nonfiction)
     ANDREW MARVELL, To His Coy Mistress (poetry)
     ANNIE FINCH, Coy Mistress (poetry)
          Annie Finch on Writing
     CHARLES DICKENS, from Our Mutual Friend (fiction)
     E. E. CUMMINGS, somewhere I have never travelled, gladly beyond (poetry)
     ZAREH KHRAKHOUNI, Measure (poetry)
     ANITA JAIN, Is Arranged Marriage Really Any Worse Than Craigslist? (nonfiction)
     RANDALL MUNROE, Boyfriend (cartoon)
 Student Writing     
    Analyzing Drama: Irony in The Importance of Being Earnest
The Writer’s Craft — Close Reading    
Suggestions for Writing    
    Love and Relationships

8. Conformity and Rebellion 

Not all those who wander are lost.
     — J. R. R. Tolkien, The Lord of the Rings
     WILLIAM SHAKESPEARE, The Tragedy of Hamlet, Prince of Denmark
     EDWIDGE DANTICAT, The Book of the Dead
     HERMAN MELVILLE, Bartleby, the Scrivener: A Story of Wall Street
     KURT VONNEGUT, Harrison Bergeron
     T. C. BOYLE, Admiral
     CHIMAMANDA NGOZI ADICHIE, The Headstrong Historian
     GEORGE HERBERT, The Collar
     PERCY BYSSHE SHELLEY, Song: To the Men of England
     EMILY DICKINSON, Much Madness is divinest Sense
     WALLACE STEVENS, Disillusionment of Ten O’clock
     E. E. CUMMINGS, anyone lived in a pretty how town
     NAZIM HIKMET, On Living
     DYLAN THOMAS, Do not go gentle into that good night
     ANNE SEXTON, Her Kind
     DUDLEY RANDALL, Booker T. and W.E.B.
     SANDRA GILBERT, Sonnet: The Ladies’ Home Journal
     LUCILLE CLIFTON, Homage to My Hips
     CAROL ANN DUFFY, Penelope
Paired Poems
     MATTHEW PRIOR, An Epitaph
     W. H. AUDEN, The Unknown Citizen
Visual Text 
     Book covers for Hamlet
     The Metamorphosis: Interpretations and Transformations
     FRANZ KAFKA, The Metamorphosis (novella)
     FRANZ KAFKA, To Max Brod (letter)
     FRANZ KAFKA, To Kurt Wolff Publishing Company (letter)
     DAVID ZANE MAIROWITZ and ROBERT CRUMB, from Kafka (graphic essay)
     PETER KUPER, from The Metamorphosis (graphic novel)
          Peter Kuper on The Metamorphosis
Student Writing     
     Analyzing Fiction: Alienation in The Metamorphosis
The Writer’s Craft — Close Reading    
Suggestions for Writing 
     Conformity and Rebellion

9. Art and the Artist
Art for art’s sake? I should think so, and more so than ever at the present time. It is the one orderly product which our middling race has produced. It is the cry of a thousand sentinels, the echo from a thousand labyrinths, it is the lighthouse which cannot be hidden . . . it is the best evidence we can have of our dignity.  
     E. M. Forster

     T. S. ELIOT, The Love Song of J. Alfred Prufrock
     JAMES BALDWIN, Sonny’s Blues
     CHARLOTTE PERKINS GILMAN, The Yellow Wallpaper 
     RAYMOND CARVER, Cathedral 
     DON DELILLO, Videotape
     ALEXANDER POPE, Sound and Sense
     SAMUEL TAYLOR COLERIDGE, Kubla Khan; or, A Vision in a Dream 
     WILLIAM WORDSWORTH, London, 1802
     JOHN KEATS, On the Sonnet
     JOHN KEATS, Ode on a Grecian Urn
     ROBERT BROWNING, My Last Duchess
     CLAUDE MCKAY, The Harlem Dancer 
     WALLACE STEVENS, Thirteen Ways of Looking at a Blackbird
     D. H. LAWRENCE, Piano 
     FRANK O’HARA, The Day Lady Died
     MARY OLIVER, Singapore 
     BILLY COLLINS, The Blues
Paired Poems
     EDWARD HOPPER, Nighthawks (painting)
     IRA SADOFF, Hopper’s “Nighthawks” (1942) 
Inventing My Parents: After Edward Hopper’s Nighthawks
Visual Text 
     EDGAR DEGAS, The Laundresses
     EAVAN BOLAND, Degas’s Laundresses 
           Eavan Boland on Writing
     A Study of Seamus Heaney: The Responsibility of the Artist
     DENNIS O’DRISCOLL, from Stepping Stones, Interviews with Seamus Heaney (interview)
     SEAMUS HEANEY, from Feeling into Words (nonfiction) 
     SEAMUS HEANEY, Crediting Poetry (Nobel lecture)    
     SEAMUS HEANEY, Digging  (poetry)    
     SEAMUS HEANEY, Requiem for the Croppies (poetry)    
     SEAMUS HEANEY, Bogland (poetry)    
      SEAMUS HEANEY, The Tollund Man (poetry)
     SEAMUS HEANEY, Tollund  (poetry)
     SEAMUS HEANEY, A Call (poetry)
     SEAMUS HEANEY, Postscript (poetry)
Student Writing  
     Close Reading Poetry: Speaker's Attitude in "My Last Dutchess"
The Writer’s Craft — Close Reading    
Figurative Language
Suggestions for Writing
     Art and the Artist

10. Traditions and Progress
The world owes all its onward impulses to men ill at ease. The happy man inevitably confines himself within ancient limits.
     — Nathaniel Hawthorne
     HENRY JAMES, Daisy Miller
     FLANNERY O’CONNOR, A Good Man Is Hard to Find
     ALICE WALKER, Everyday Use
     CHARLES BAXTER, Fenstad’s Mother 
     SALMAN RUSHDIE, The Free Radio
     GISH JEN, Who’s Irish?
     THOMAS GRAY, Elegy Written in a Country Churchyard 
     WILLIAM BLAKE, London
     MATTHEW ARNOLD, Dover Beach
     GERARD MANLEY HOPKINS, God’s Grandeur
     EMILY DICKINSON, Crumbling is not an instant’s Act
     ROBERT FROST, Mending Wall
     W. B. YEATS, The Second Coming
     JAMES WRIGHT, Autumn Begins in Martins Ferry, Ohio 
     MITSUYE YAMADA, A Bedtime Story
     MAY SWENSON, Goodbye, Goldeneye
     CHITRA BANERJEE DIVAKARUNI, Indian Movie, New Jersey
     STEPHEN DUNN, Charlotte Brontë in Leeds Point
     AIMEE NEZHUKUMATATHIL, When All of My Cousins Are Married

          Aimee Nezhukumatathil on Writing
     DEREK WALCOTT, Forty Acres
Paired Poems
     WALT WHITMAN, Mannahatta 
     CARL SANDBURG, Chicago
Visual Text
     KEHINDE WILEY, Portrait of Andries Stilte II
     The Harlem Renaissance: Progress within Tradition?
     JAMES WELDON JOHNSON, Preface to The Book of American Negro Poetry (nonfiction)  
     LANGSTON HUGHES, The Negro Artist and the Racial Mountain (nonfiction)
     LANGSTON HUGHES, Jazzonia (poetry) 
     CLAUDE MCKAY, The White House (poetry)
     ZORA NEALE HURSTON, Spunk (fiction)
     AARON DOUGLASS, The Spirit of Africa (woodcut)
     ARNA BONTEMPS, Nocturne at Bethesda (poetry) 
     JESSIE REDMON FAUSET, from Plum Bun: A Novel without a Moral (fiction)
Student Writing
     Working with Sources: On the Harlem Renaissance

The Writer’s Craft — Close Reading    
Suggestions for Writing
     Tradition and Progress
11. War and Peace
Do dreams offer lessons? Do nightmares have themes, do we awaken and analyze them and live our lives and advise others as a result? Can the foot soldier teach anything important about war, merely for having been there? I think not. He can tell war stories.

    Tim O’Brien, If I Die in a Combat Zone
     SOPHOCLES, Antigone
     TIM O’BRIEN, The Things They Carried
     MURIEL SPARK, The First Year of My Life 
     CYNTHIA OZICK, The Shawl
     BHARATI MUKHERJEE, The Management of Grief
     HOMER, The Champion Arms for Battle, from Book 19 of the Iliad
     WILLIAM SHAKESPEARE, If we are marked to die . . . from Henry V, Act IV, scene iii
     ROBERT SOUTHEY, The Battle of Blenheim
     WALT WHITMAN, Vigil strange I kept on the field one night
     HERMAN MELVILLE, Shiloh: A Requiem (April, 1862)
     SIEGFRIED SASSOON, Lamentations
     WILFRED OWEN, Dulce et Decorum Est
     ANNA AKHMATOVA, The First Long-Range Artillery Shell in Leningrad
     RANDALL JARRELL, The Death of the Ball Turret Gunner
     HENRY REED, Naming of Parts
     RICHARD WILBUR, First Snow in Alsace
     WISLAWA SZYMBORSKA, The Terrorist, He Watches
     YOUSIF AL-SA’IGH, An Iraqi Evening 
     BRIAN TURNER, Sadiq
         Brian Turner on Writing
     NATASHA TRETHEWEY, Elegy for the Native Guards
Paired Poems
     WILFRED OWEN, The Parable of the Old Man and the Young 
     WILFRED OWEN, Arms and the Boy
Visual Texts  
     THE NEW YORK TIMES, Boy Fascist, 1932
     Finding Peace
     ALFRED, LORD TENNYSON, Ulysses (poetry)
     THOMAS HARDY, A Wife in London (poetry)
     ERNEST HEMINGWAY, Soldier’s Home (fiction)
     YUSEF KOMUNYAKAA, Facing It (poetry)
     MAYA LIN, from Boundaries (nonfiction)
     DEPARTMENT OF DEFENSE, Fallen Soldiers Arriving at Dover Air Force Base (photography)
     RACHELLE JONES, Satisfy My Soul (blog post)

Student Writing
     Analyzing Drama: Theme in Antigone

The Writer’s Craft — Close Reading    
Suggestions for Writing
     War and Peace

MLA Guidelines for a List of Works Cited
Glossary of Literary Terms
Index of First Lines
Index of Authors and Titles

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