Literature to go

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Drawn from our best-selling anthology The Compact Bedford Introduction to Literature, Literature to Go is a brief and inexpensive collection of stories, poems, and plays accompanied by thorough critical reading and writing support. With literature from many periods, cultures, and diverse…

You are reading: Literature to go

Drawn from our best-selling anthology The Compact Bedford Introduction to Literature, Literature to Go is a brief and inexpensive collection of stories, poems, and plays accompanied by thorough critical reading and writing support. With literature from many periods, cultures, and diverse voices, the book is also a complete guide to close reading, critical thinking, and thoughtful writing about literature. The fourth edition features 132 new, carefully chosen stories, poems, and plays—continuing the anthology’s mission to present literature as a living, changing art form.

A brief anthology of the literature you love to teach—with the critical thinking, reading, and writing support your students need.

Drawn from our best-selling anthology The Compact Bedford Introduction to Literature, Literature to Go is a brief and inexpensive collection of stories, poems, and plays accompanied by thorough critical reading and writing support. With literature from many periods, cultures, and diverse voices, the book is also a complete guide to close reading, critical thinking, and thoughtful writing about literature. The fourth edition features 132 new, carefully chosen stories, poems, and plays—continuing the anthology’s mission to present literature as a living, changing art form.

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An essential collection of literature that reflects the classic canon — and the new. Among the 36 stories, 227 poems, and 8 plays you’ll see the master works you love to teach, along with many newer, critically acclaimed selections that students love to read. Works by Baldwin, Dickinson, and Shakespeare appear alongside those by Jhumpa Lahiri, Kwame Dawes, and Paula Vogel.Brief and inexpensive. At approximately 1,000 pages—shorter than other comparable anthologies—and value-priced, Literature to Go is a sensible choice for instructors and students who want a brief, affordable anthology. An e-book option offers additional savings and flexibility.Surprisingly full coverage of reading and writing. Student-friendly coverage of the elements of literature and three sample close readings model the kind of critical reading that is the foundation of academic writing about literature. Three robust chapters discuss every step of the writing process and a generous selection of current MLA-style student papers, including a paper-in-progress, model techniques for analyzing and arguing about literature. Hundreds of assignments throughout the text offer many occasions for writing.Many options for teaching. Chapters on the literary elements help students understand, read, and write about literature, and case studies on major authors, including Flannery O’Connor and Emily Dickinson, reveal writers as real people and literature as a living art form. An in-depth chapter on poet Billy Collins, created with the poet himself, features his work and reflective essays that he wrote exclusively for Michael Meyer and D. Quentin Miller’s anthologies. And throughout the book, literature is brought to life through vivid cultural images and documents, critical perspectives, and themes that students will respond to.
24 stories, 103 poems, and 4 plays are new. These works represent canonical and contemporary literature. Complementing the addition of several classic literary works—including Charlotte Perkins Gilman’s “The Yellow Wallpaper” and Dorothy Parker’s “One Perfect Rose”— are numerous stories, poems, and plays not frequently anthologized. The stories, poems, and plays new to this edition are a rich collection of traditional and contemporary literature — works that will make classroom discussion come alive. They include:Stories by George Saunders (“I Can Speak ™”) and Ursula LeGuin (“The Ones Who Walk Away from Omelas”)Poems by Major Jackson (“Autumn Landscape”) and Louise Glück (“Celestial Music”)Plays by Lynn Nottage (POOF!) and David Auburn (Proof).A case study on song lyrics as poetry. Lyrics by a variety of artists whose work holds a significant place in our culture— from Woody Guthrie to Joni Mitchell to Janelle Monae—are featured. Students will find this chapter to be a compelling entry point into appreciating and analyzing verse, and they will explore how, from social protest anthems to rock to hip-hop, artists find new and exciting ways to manipulate language—exploiting its nuances, playing with its sound qualities, and creating metrical principles that are guided by the melodies that drive it. A case study of poems on the natural world. This chapter offers literature as rich, varied, and often personal as the subject itself— with such works as Gail White’s “Dead Armadillos” (on beauty, scarcity, and what we choose to save) and Dave Lucas’s “November” (a vivid description of how quickly and dramatically our surroundings can change).Reimagined and up-to-date support for critical thinking, reading, and writing. Three streamlined chapters appear at the end of the book. The accessible, relatable, and realistic advice in these chapters gives students the help they need to write thoughtfully and critically about literature. In one convenient place, students will find thorough coverage of critical strategies for reading, reading and the writing process broken out by genre (including a sample paper in progress), and detailed support for writing literary research papers.
“If a colleague was looking for an interesting, diverse anthology to use in an introduction to literature course, I would most definitely recommend they consider Literature to Go.” —Stephanie Maenhardt, Salt Lake Community College

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*New to the 4th Edition Preface for InstructorsIntroductionFictionThe Elements of Fiction1. Reading FictionReading Fiction ResponsivelyKate Chopin, “The Story of an Hour”A SAMPLE CLOSE READING: An Annotated Section of “The Story of An Hour”A SAMPLE STUDENT RESPONSE: Differences in Responses to Kate Chopin’s“The Story of an Hour”Explorations and FormulasA Comparison of Two Stories*Grace Paley, “Wants”*Judith Ortiz Cofer, “Volar”2. Plot*T.C. Boyle, “The Hit Man”William Faulkner, “A Rose for Emily”A SAMPLE CLOSE READING: An Annotated Section of “A Rose for Emily”A SAMPLE STUDENT RESPONSE: Conflict in the Plot of William Faulkner’s “A Rose for Emily”*Joyce Carol Oates, “Tick”3. Character*Tobias Wolff, “Powder”*Xu Xi, “Famine”*James Baldwin, “Sonny’s Blues”4. SettingErnest Hemingway, “Soldier’s Home”PERSPECTIVE: Ernest Hemingway, “On What Every Writer Needs”*Ursula LeGuin, “The Ones Who Walk Away from Omelas”*Charlotte Perkins Gilman, “The Yellow Wallpaper”5. Point of ViewThird-Person and First-Person NarratorsJohn Updike, “A & P”*Manuel Muñoz, “Zigzagger”Maggie Mitchell, “It Would Be Different If” 6. Symbolism*Louise Erdrich, “The Red Convertible”*Cynthia Ozick, “The Shawl”*A SAMPLE STUDENT RESPONSE: On Cynthia Ozick’s “The Shawl”*Ann Beattie, “Janus”7. Theme*Shirley Jackson, “The Lottery”*Edgar Allen Poe, “The Cask of Amontillado”*Zora Neale Hurston, “Sweat”8. Style, Tone, and IronyRaymond Carver, “Popular Mechanics”A SAMPLE STUDENT RESPONSE: The Minimalist Style of Raymond Carver’s “Popular Mechanics”*George Saunders, “I Can Speak ™”Mark Twain, “The Story of the Good Little Boy”Fiction in Depth9. A Study of Flannery O’ConnorA Brief Biography and IntroductionFlannery O’Connor:“A Good Man is Hard to Find”*“Good Country People”*“Revelation”PERSPECTIVESFlannery O’Connor, “On the Use of Exaggeration and Distortion”Josephine Hendin, “On O’Connor’s Refusal to ‘Do Pretty’”Claire Katz, “The Function of Violence in O’Connor’s Fiction”TIME Magazine, “On A Good Man is Hard to Find and Other Stories”10. A Collection of Stories*John Cheever, “The Enormous Radio”*Edwidge Danticat, “The Missing Peace”Dagoberto Gilb, “Love in L.A.”James Joyce, “Eveline”Jamaica Kincaid, “Girl”*Jhumpa Lahiri, “Sexy”*ZZ Packer, “Drinking Coffee Elsewhere”Annie Proulx, “55 Miles to the Gas Pump”*Kurt Vonnegut, “Happy Birthday, 1951”PoetryThe Elements of Poetry11. Reading PoetryReading Poetry ResponsivelyLisa Parker, “Snapping Beans”Robert Hayden, “Those Winter Sundays”John Updike, “Dog’s Death”The Pleasure of Words*Gregory Corso: “I am 25”Robert Francis, “Catch”A SAMPLE STUDENT ANALYSIS: Tossing Metaphors in Robert Francis’s “Catch”Poetic Definitions of Poetry*Marianne Moore, “Poetry”Billy Collins, “Introduction to Poetry”Ruth Forman, “Poetry Should Ride the Bus”*Charles Bukowski, “A Poem is a City”Philip Larkin, “A Study of Reading Habits”Robert Morgan, “Mountain Graveyard”e.e. Cummings, “l(a”Anonymous, “Western Wind”Regina Barreca, “Nighttime Fires”Recurrent Poetic Figures: Five Ways of Looking at Roses*Robert Burns, “A Red, Red Rose”*Edmund Waller, “Go, Lovely Rose”*William Blake, “The Sick Rose”*Dorothy Parker, “One Perfect Rose”*H.D. (Hilda Doolittle), “Sea Rose”Poems for Further StudyMary Oliver, “The Poet with His Face in His Hands”Alberto Ríos, “Seniors”Robert Frost, “Design”Edgar Allan Poe, “Sonnet – To Science”Cornelius Eady, “The Supremes”12. Word Choice, Word Order, and ToneWord choiceDictionDenotations and ConnotationsRandall Jarrell, “The Death of the Ball Turret Gunner”Word OrderTone*Marilyn Nelson, “How I Discovered Poetry”Katharyn Howd Machan, “Hazel Tells LaVerne”A SAMPLE STUDENT RESPONSE: Tone in Katharyn Howd Machan’s “Hazel Tells Laverne”Martin Espada, “Latin Night at the Pawnshop”*Jonathan Swift, “The Character of Sir Robert Walpole”Diction and Tone in Three Love PoemsRobert Herrick, “To the Virgins, To Make Much of Time”Andrew Marvell, “To His Coy Mistress”Ann Lauinger, “Marvell Noir”Poems for Further StudyWalt Whitman, “The Dalliance of the Eagles”*Kwame Dawes, “History Lesson at Eight a.m.”Robert Frost, “Out, Out – ”Robert Frost, “The Road Not Taken”Alice Jones, “The Lungs”Louis Simpson, “In the Suburbs”13. ImagesPoetry’s Appeal to the SensesWilliam Carlos Williams, “Poem”Walt Whitman, “Cavalry Crossing a Ford”David Solway, “Windsurfing”Matthew Arnold, “Dover Beach”Poems for Further StudyAdelaide Crapsey, “November Night”Ruth Fainlight, “Crocuses”William Blake, “London”*Kwame Dawes, “The Habits of Love”Charles Simic, “Fork”Sally Croft, “Home-Baked Bread”14. Figures of SpeechWilliam Shakespeare, From MacbethSimile and MetaphorLangston Hughes, “Harlem”*Jane Kenyon, “The Socks”Anne Bradstreet, “The Author to her Book”Other FiguresEdmund Conti, “Pragmatist”Dylan Thomas, “The Hand that Signed the Paper”Janice Townley Moore, “To a Wasp”Tajana Kovics, “Text Message”Poems for Further StudyWilliam Carlos Williams, “To Waken an Old Lady”Ernest Slyman, “Lightning Bugs”Martin Espada, “The Mexican Cabdriver’s Poem for his Wife, Who Has Left Him”Judy Page Heitzman, “The Schoolroom on the Second Floor of the Knitting Mill”*Edna St. Vincent Millay, “Spring”*Robert Pinsky, “Icicles”Kay Ryan, “Learning”15. Symbol, Allegory, and IronySymbolRobert Frost, “Acquainted With the Night”Allegory*James Baldwin, “Guilt, Desire, and Love”IronyEdwin Arlington Robinson, “Richard Cory”Kenneth Fearing, “Ad”e.e. cummings, “Next To Of Course God America I”Stephen Crane, “A Man Said to the Universe”Poems for Further Study*Christina Rossetti, “Goblin Market”*Jane Kenyon, “The Thimble”Kevin Pierce, “Proof of Origin”Carl Sandburg, “A Fence”Julio Marzán, “Ethnic Poetry”Mark Halliday, “Graded Paper”Robert Browning, “My Last Duchess”William Blake, “A Poison Tree”16. SoundsListening to PoetryJohn Updike, “Player Piano”Emily Dickinson, “A Bird Came Down the Walk –”A SAMPLE STUDENT RESPONSE: Sound in Emily Dickinson’s “A Bird came down to walk—”RhymeRichard Armour, “Going to Extremes”Robert Southey, from “The Cataract of Lodore”Andrew Hudgins, “The Ice-Cream Truck”Sound and Meaning*Gerard Manley Hopkins, “God’s Grandeur”Poems for Further StudyLewis Carroll, “Jabberwocky”William Heyen, “The Trains”*Alfred, Lord Tennyson, “Break, Break, Break”John Donne, “Song”Kay Ryan, “Dew”Robert Francis, “The Pitcher”Helen Chasin, “The Word Plum”*Major Jackson, “Autumn Landscape”17. Patterns of RhythmSome Principles of MeterWalt Whitman, from “Song of the Open Road”William Wordsworth, “My Heart Leaps Up”Suggestions for Scanning a PoemTimothy Steele, “Waiting for the Storm”A SAMPLE STUDENT RESPONSE: The Rhythm of Anticipation in Timothy Steele’s “Waiting for the Storm”William Butler Yeats, “That the Night Come”Poems for Further StudyJohn Maloney, “Good!”Alice Jones, “The Foot”Robert Herrick, “Delight in Disorder”e.e. cummings, “O Sweet Spontaneous”William Blake, “The Lamb”William Blake, “The Tyger”Robert Frost, “Stopping By Woods on a Snowy Evening”*Langston Hughes, “The Weary Blues”Gwendolyn Brooks, “We Real Cool”18. Poetic FormsSome Common Poetic FormsA.E. Housman, “Loveliest of Trees, the Cherry Now”Robert Herrick, “Upon Julia’s Clothes”SonnetJohn Keats, “On First Looking Into Chapman’s Homer”William Shakespeare, “Shall I Compare Thee to a Summer’s Day?”William Shakespeare, “My Mistress’ Eyes are Nothing Like the Sun”*Countee Cullen, “Yet Do I Marvel”*Mark Jarman, “Unholy Sonnet”R.S. Gwynn, “Shakespearean Sonnet”*Claude McKay, “If We Must Die”VillanelleDylan Thomas, “Do Not Go Gentle Into That Good Night”SestinaFlorence Cassen Mayers, “All-American Sestina”*Julia Alvarez, “Bilingual Sestina”EpigramSamuel Taylor Coleridge, “What Is an Epigram?”David McCord, “Epitaph on a Waiter”Paul Laurence Dunbar, “Theology”LimerickArthur Henry Reginald Buller, “There was a Young Lady Named Bright”Laurence Perrine, “The Limerick’s Never Averse”HaikuMatsuo Basho, “Under Cherry Trees”Carolyn Kizer, “After Basho”Amy Lowell, “Last Night It Rained”Gary Snyder, “A Dent in a Bucket”Ghazal*Mirza Asadullah Khan Ghalib, “Ghazal 4”*Patricia Smith, “Hip Hop Ghazal”ElegyBen Jonson, “On My First Son”*Kate Hanson Foster, “Elegy of Color”OdeAlexander Pope, “Ode on Solitude”John Keats, “Ode on a Grecian Urn”ParodyBlanche Farley, “The Lover Not Taken”Joan Murray, “We Old Dudes”Picture PoemMichael McFee, “In Medias Res”PERSPECTIVE: Elaine Mitchell, “Form”19. Open Form Walt Whitman, from “I Sing the Body Electric”A SAMPLE STUDENT RESPONSE: The Power of Walt Whitman’s Open Form Poem “I Sing the Body Electric”*Reginald Shepherd, “Self Portrait Surviving Spring”David Shumate, “Shooting the Horse”*Major Jackson, “The Chase”Natasha Trethewey, “On Captivity”Julio Marzán, “The Translator at the Reception for Latin American Writers”Charles Harper Webb, “Descent”Anonymous, “The Frog”David Hernandez, “All-American”FOUND POEM: Donald Justice, “Order in the Streets”Poetry in Depth20. A Study of Emily DickinsonA Brief BiographyAn Introduction to Her WorkEmily Dickinson:*“If I can Stop One Heart from Breaking”*“If I Shouldn’t Be Alive”*“To Make a Prairie It Takes a Clover and One Bee”*“Success is Counted Sweetest”*“Water, is Taught by Thirst”*“Safe in Their Alabaster Chambers” (1861 version)*“Portraits Are to Daily Faces”*“Some Keep the Sabbath Going to Church”*“I Taste a Liquor Never Brewed”*“‘Heaven’ Is What I Cannot Reach”*“I Like a Look of Agony”“Wild Nights – Wild Nights!”*“The Soul Selects Her Own Society”“Much Madness Is Divinest Sense”*“I Dwell In Possibility”“I Heard a Fly Buzz – When I Died”*“Because I Could Not Stop for Death”“Tell All the Truth But Tell It Slant”PERSPECTIVES ON EMILY DICKINSON*Emily Dickinson, “A Description of Herself”*Thomas Wentworth Higgonson, “On Meeting Dickinson for the First Time”*Mabel Loomis Todd, “The Character of Amherst”*Richard Wilbur, On Dickinson’s Sense of Privation”*Sandra M. Gilbert and Susan Gubar, “On Dickinson’s White Dress”*Paula Bennett, “On ‘I heard a Fly buzz—when I died—’”*Martha Nell Smith, “On ‘Because I could not stop for Death’”A Sample In-Depth StudyEmily Dickinson:*“‘Faith’ is a fine invention”*“I know that He exists”*“I never saw a Moor”*“Apparently with no surprise”*A SAMPLE STUDENT PAPER: Religious Faith in Four Poems by Emily DickinsonSUGGESTED TOPICS FOR LONGER PAPERS21. A Study of Billy Collins: The Author Reflects on Three PoemsA Brief Biography and Introduction to His WorkINTRODUCTION: Billy Collins, “How Do Poems Travel?”POEM: Billy Collins, “Questions About Angels”ESSAY: Billy Collins, “On Writing ‘Questions About Angels’”POEM: Billy Collins, “Litany”ESSAY: Billy Collins, “On Writing ‘Litany’”POEM: Billy Collins, “Building With Its Face Blown Off”PERSPECTIVE: Billy Collins, “On ‘Building with Its Face Blown Off’: Michael Meyer Interviews Billy Collins”22. A Case Study: Song Lyrics as Poetry*Anonymous, “Lord Randal”*Frederic Weatherly, “Danny Boy”*W.C. Handy, “Beale Street Blues”*Woody Guthrie, “Gypsy Davy”*Hank Williams, “I’m So Lonesome I Could Cry”*Bob Dylan, “A Hard Rain’s A-Gonna Fall”*Bob Dylan, “It’s Alright, Ma (I’m Only Bleeding)”*John Lennon and Paul McCartney, “I Am the Walrus”*Van Morrison, “Astral Weeks”*Joni Mitchell, “Cold Blue Steel and Sweet Fire”Bruce Springsteen, “You’re Missing”*Janelle Monae, Americans23. A Thematic Case Study: The Natural World*J. Estanislao Lopez, “Meditation on Beauty”*Jane Hirschfield, “Optimism”*Wendell Berry, “The Peace of Wild Things”*Gail White, “Dead Armadillos”*Dave Lucas, “November”*Walt McDonald, “Coming Across It”Alden Nowlan, “The Bull Moose”*Kay Ryan, “Turtle”*Allen Ginsburg, “Sunflower Sutra”*Mary Oliver, “Wild Geese”*Sylvia Plath, “Pheasant”SUGGESTED TOPICS FOR LONGER PAPERSA Collection of Poems24. Poems for Further Reading*Margaret Atwood, “Owl Song”*Charles Baudelaire, “A Carrion”*William Blake, “Infant Sorrow”*Anne Bradstreet, “Before the Birth of One of Her Children”*Emily Brontë, “Stars”Elizabeth Barrett Browning, “How Do I Love Thee? Let Me Count the Ways”*Michelle Cliff, “The Land of Look Behind”*Gregory Corso, “Marriage”*Bei Dao, “Notes from the City of the Sun”*John Donne, “The Flea”T.S. Eliot, “The Love Song of J. Alfred Prufrock”*Lawrence Ferlinghetti, “Constantly Risking Absurdity”*Robert Frost, “Mending Wall”*Louise Glück, “Celestial Music”*Seamus Heaney, “Personal Helicon”*Brionne Janae, “Alternative Facts”*John Keats, “When I Have Fears That I May Cease to Be”*Philip Larkin, “Sad Steps”Emma Lazarus, “The New Colossus”*Robert Lowell, “Skunk Hour”*Naomi Shihab Nye, “To Manage”*Edgar Allan Poe, “Annabelle Lee”Percy Bysshe Shelley, “Ozymandias”*Stevie Smith, “Not Waving But Drowning”*Wallace Stevens, “Thirteen Ways of Looking at a Blackbird”*Jonathan Swift, “A Description of the Morning”Alfred, Lord Tennyson, “Ulysses”*Natasha Trethewey, “Incident”*Phillis Wheatley, “To S.M., a young African Painter, on seeing his Works”Walt Whitman, “When I Heard the Learn’d Astronomer”*William Wordsworth, “I wandered lonely as a cloud”William Butler Yeats, “The Lake Isle of Innisfree”DramaThe Study of Drama25. Reading Drama Reading Drama ResponsivelySusan Glaspell, TriflesA SAMPLE CLOSE READING: An Annotated Section of TriflesElements of Drama*Lynn Nottage, POOF!26. A Study of SophoclesTheatrical Conventions of Greek DramaTragedySophocles, Oedipus the King (trans. by David Grene)27. A Study of William ShakespeareShakespeare’s TheaterThe Range of Shakespeare’s Drama: History, Comedy, and TragedyA Note on Reading ShakespeareWilliam Shakespeare, Othello, the Moor of VeniceSUGGESTED TOPICS FOR LONGER PAPERS28. Henrik Ibsen and Modern DramaRealismTheatrical Conventions of Modern DramaHenrik Ibsen, A Doll’s House (trans. R. Farquharson Sharp)29. Plays for Further Reading*David Auburn, Proof*Paula Vogel, How I Learned to Drive*Oscar Wilde, The Importance of Being Earnest30. Critical Strategies for ReadingCritical ThinkingFormalist StrategiesBiographical StrategiesGender StrategiesMythological StrategiesReader-Response StrategiesDeconstructionist Strategies31. Writing about LiteratureWhy Am I Being Asked to Do This?From Reading and Discussion to WritingPrewritingArguing about LiteratureWritingRevising and EditingWriting about Fiction, Poetry, and DramaWriting about FictionWriting about PoetryThe Elements TogetherOrganizing Your ThoughtsThe Elements and ThemeWriting about Drama32. The Literary Research Paper Finding SourcesEvaluating Sources and Taking NotesDeveloping a Draft, Integrating Sources, and Organizing the PaperDocumenting Sources and Avoiding Plagiarism

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