^{Fidelis_test_db} movies

Kyle Kalke, an astronomer since childhood, a high school "science nerd," falls in love with flamboyant, outspoken, openhearted Zoe, who—astonishingly—loves him back. When she is kidnapped and murdered, Kyle barricades himself by devoting himself more feverishly to the cosmos and losing himself in loveless sex. TOUCH is about a man in despair questioning whether there is any point to rediscovering passion, risking connection, groping toward the touch that will rekindle joy.

<p>Kyle Kalke, an astronomer since childhood, a high school "science nerd," falls in love with flamboyant, outspoken, openhearted Zoe, who astonishingly loves him back. When she is kidnapped and murdered, Kyle barricades himself by devoting himself more feverishly to the cosmos and losing himself in loveless sex. TOUCH is about a man in despair questioning whether there is any point to rediscovering passion, risking connection, groping toward the touch that will rekindle joy.</p><h3>NY Times</h3><p>...a gripping, heart-wrenching, tender drama whose scenes shift seamlessly, character to character, past to present.</p>

<article> <h4>Miami Herald</h4>So often these days, theater aspires to nothing more than sheer escapism. But now and then, a deeply touching play comes along. TOUCH is one of those. </article> <article> <h4>NY Times</h4>...a gripping, heart-wrenching, tender drama whose scenes shift seamlessly, character to character, past to present. </article><article> <h4>Portland Oregonian</h4>Toni Press-Coffman's play celebrates the beauty of survival with eloquence and grace. </article>

<p><P>J. D. McClatchy is a poet and Professor of English at Yale University. He is a Fellow of the American Academy of Arts and Sciences and a member of the American Academy of Arts and Letters. His book <i>Hazmat</i> (Alfred A. Knopf, 2002) was nominated for the 2003 Pulitzer Prize. He edits the &quot;Voice of the Poet&quot; series for Random House AudioBooks; and has written texts for musical settings, including eight opera libretti, for such composers as William Schuman, Ned Rorem, Lorin Maazel, Bruce Saylor, Lowell Liebermann, and Elliot Goldenthal. His honors include an Award in Literature from the American Academy of Arts and Letters, and fellowships from the Guggenheim Foundation and the National Endowment for the Arts. He has also been one of the New York Public Literary Lions, and received the 2000 Connecticut Governor's Arts Award. He received the 1991 fellowship from the Academy of American Poets, and served as an Academy Chancellor from 1996 until 2003.&#160; He has edited or co-edited four previous Everyman's Library Pocket Poet volumes.</p>

For the poet, even the most minute details of the natural world are starting points for flights of the imagination, and the pages of this collection celebrating the four seasons are brimming with an extraordinary range of observation and imagery.&nbsp; <p>Here are poets past and present, from Chaucer, Shakespeare, and Wordsworth to Whitman, Dickinson, and Thoreau, from Keats, Blake, and Hopkins to Elizabeth Bishop, Ted Hughes, Amy Clampitt, Mary Oliver, and W. S. Merwin. Here are poems that speak of the seasons as measures of earthly time or as states of mind or as the physical expressions of the ineffable. From Robert Frost’s tribute to the evanescence of spring in “Nothing Gold Can Stay” to Langston Hughes’s moody “Summer Night” in Harlem, from the “stopped woods” in Marie Ponsot’s “End of October” to the chilling “mind of winter” in Wallace Stevens’s “The Snow Man,” the poems in this volume engage vividly with the seasons and, through them, with the ways in which we understand and engage the world outside ourselves.</p>

FROM THE INTRODUCTION <p>The seasons are both segments of time and states of mind. Though ourword ‘‘season’’ derives from the Latin for ‘‘sowing’’ and refers thereby only to spring, every culture has had terms – whether winter and summer, or rainy and dry – for the sequence of great climatic changes by which the world transforms itself every year. But it’s more than what is going on outside. Our hearts have seasons as well. Mostly, we call them moods, and we lay our plans by their accustomed recurrences. We recall the crucial moments in our lives by the weather that still swirls around them in memory. Weddings and family reunions, getaways and homecomings are most often scheduled by the season. Yes, we have urgent appointments and traditional holidays, our deadlines and habits. But our bodies and their tides of desire seem to move more slowly, and are governed by the larger, more dramatic and decisive movements of the sun itself – the arrival of light and the opulence of warmth, then their slow fading and cold withdrawal. Aren’t, in fact, the seasons like the stages of a love affair?</p> <p>This is where the poets come in. They are enthusiasts and brooders. Love and death are their stock-in-trade. But first of all, they are observers. A strong imagination begins with a keen eye. The poet is interested in both the detail and the scheme, in both the streak on the tulip and the nature of beauty which the flower represents. This is why the seasons have, down the centuries, had a special appeal for poets. (It’s interesting though obvious to note that modern poets from England and especially from New England, where weather patterns are more extreme, are more likely to write about the seasons than poets from more steadily temperate parts.) This book is a virtual anthology of small details, because the seasons invite us to catalogue the terms of our love for the world. It takes hours of observation to get the tiniest half-line right that describes, say, the precise shade of a bird’s wing in flight. And such details are then the starting-point of metaphor. We can’t see anything exactly as it is unless we first see it as something else.</p>

<p><P>For the poet, even the most minute details of the natural world are starting points for flights of the imagination, and the pages of this collection celebrating the four seasons are brimming with an extraordinary range of observation and imagery.&#160; <P>Here are poets past and present, from Chaucer, Shakespeare, and Wordsworth to Whitman, Dickinson, and Thoreau, from Keats, Blake, and Hopkins to Elizabeth Bishop, Ted Hughes, Amy Clampitt, Mary Oliver, and W. S. Merwin. Here are poems that speak of the seasons as measures of earthly time or as states of mind or as the physical expressions of the ineffable. From Robert Frost&#8217;s tribute to the evanescence of spring in &#8220;Nothing Gold Can Stay&#8221; to Langston Hughes&#8217;s moody &#8220;Summer Night&#8221; in Harlem, from the &#8220;stopped woods&#8221; in Marie Ponsot&#8217;s &#8220;End of October&#8221; to the chilling &#8220;mind of winter&#8221; in Wallace Stevens&#8217;s &#8220;The Snow Man,&#8221; the poems in this volume engage vividly with the seasons and, through them, with the ways in which we understand and engage the world outside ourselves.</p>

<P>Spring<P>First Sight of Spring John Clare Clare, John 23<P>The Year's Awakening Thomas Hardy Hardy, Thomas 24<P>"A Light exists in Spring" Emily Dickinson Dickinson, Emily 25<P>Spring Mary Oliver Oliver, Mary 26<P>"It was a lover and his lass" William Shakespeare Shakespeare, William 28<P>Nothing Gold Can Stay Robert Frost Frost, Robert 29<P>March Richard Wilbur Wilbur, Richard 30<P>Spring Gerard Manley Hopkins Hopkins, Gerard Manley 31<P>Black March Stevie Smith Smith, Stevie 32<P>Spring Pools Robert Frost Frost, Robert 34<P>"Loveliest of trees" A. E. Housman Housman, A. E. 35<P>March Morning Unlike Others Ted Hughes Hughes, Ted 36<P>Putting in the Seed Robert Frost Frost, Robert 37<P>Spring William Shakespeare Shakespeare, William 38<P>The Lent Lily A. E. Housman Housman, A. E. 39<P>Spring Song II Jean Garrigue Garrigue, Jean 40<P>Another April James Merrill Merrill, James 41<P>Resurrections A. R. Ammons Ammons, A. R. 42<P>A Cold Spring Elizabeth Bishop Bishop, Elizabeth 43<P>Lines Written in Early Spring William Wordsworth Wordsworth, William 45<P>My Father Paints the Summer Richard Wilbur Wilbur, Richard 106<P>Falling Asleep in a Garden David Wagoner Wagoner, David 108<P>Dog-Days Amy Lowell Lowell, Amy 109<P>August Moon Robert Penn Warren Warren, Robert Penn 110<P>Blackberry-Picking Seamus Heaney Heaney, Seamus 113<P>Late August on the Lido John Hollander Hollander, John 114<P>Hyla Brook Robert Frost Frost, Robert 115<P>Summer is Ended Christina Rossetti Rossetti, Christina 116<P>"As imperceptibly as Grief" Emily Dickinson Dickinson, Emily 117<P>"When summer's end is nighing" A. E. Housman Housman, A. E. 118<P>Autumn<P>To Autumn John Keats Keats, John 123<P>"Summer begins to have thelook" Emily Dickinson Dickinson, Emily 125<P>"Fall, leaves, fall" Emily Bronte Bronte, Emily 126<P>Unharvested Robert Frost Frost, Robert 127<P>Autumn Walter De La Mare Mare, Walter De La 128<P>Autumn John Clare Clare, John 129<P>Autumn Amy Lowell Lowell, Amy 130<P>Autumn Chant Edna St. Vincent Millay Millay, Edna St. Vincent 131<P>Ode to the West Wind Percy Bysshe Shelley Shelley, Percy Bysshe 132<P>The Seven Sorrows Ted Hughes Hughes, Ted 136<P>An Autumn Sunset Edith Wharton Wharton, Edith 138<P>Autumn Alexander Pushkin Pushkin, Alexander 140<P>Simple Autumnal Louise Bogan Bogan, Louise 145<P>The Flux of Autumn Jean Garrigue Garrigue, Jean 146<P>"Turn me to my yellow leaves" William Stanley Braithwaite Braithwaite, William Stanley 150<P>The Latter Rain Jones Very Very, Jones 151<P>To Autumn William Blake Blake, William 152<P>Hoar-Frost Amy Lowell Lowell, Amy 153<P>Written in Autumn Mary Tighe Tighe, Mary 154<P>The Fall of the Leaf Henry David Thoreau Thoreau, Henry David 155<P>Autumn Refrain Wallace Stevens Stevens, Wallace 163<P>The Dying Garden Howard Nemerov Nemerov, Howard 164<P>An Autumnal Anthony Hecht Hecht, Anthony 165<P>Aftermath Henry Wadsworth Longfellow Longfellow, Henry Wadsworth 167<P>The Love for October W. S. Merwin Merwin, W. S. 168<P>October Dawn Ted Hughes Hughes, Ted 169<P>October Helen Hunt Jackson Jackson, Helen Hunt 171<P>Last Week in October Thomas Hardy Hardy, Thomas 172<P>End of October Marie Ponsot Ponsot, Marie 173<P>Heart of Autumn Robert Penn Warren Warren, Robert Penn 175<P>No! Thomas Hood Hood, Thomas 177<P>November William Dean Howells Howells, William Dean 178<P>November Phyllis McGinley McGinley, Phyllis 179<P>November Night Adelaide Crapsey Crapsey, Adelaide 181<P>Late November A. R. Ammons Ammons, A. R. 182<P>During Wind and Rain Thomas Hardy Hardy, Thomas 183<P>Crow's Nests Richard Wilbur Wilbur, Richard 185<P>Spring and Fall Gerard Manley Hopkins Hopkins, Gerard Manley 186<P>An Old-Fashioned Song John Hollander Hollander, John 187<P>"That time of year thou mayst in me behold" William Shakespeare Shakespeare, William 188<P>[1(a] E. E. Cummings Cummings, E. E. 189<P>Winter<P>Whiter William Shakespeare Shakespeare, William 193<P>Winter Thomas Sackville Sackville, Thomas 194<P>"It sifts from Leaden Sieves" Emily Dickinson Dickinson, Emily 196<P>"Pray to what earth does this sweet cold belong" Henry David Thoreau Thoreau, Henry David 197<P>Winter Anne Bradstreet Bradstreet, Anne 198<P>"The night is freezing fast" A. E. Housman Housman, A. E. 200<P>Winter Walk John Clare Clare, John 201<P>The First Snow-Fail James Russell Lowell Lowell, James Russell 202<P>From a Notebook James Merrill Merrill, James 204<P>The Snow-Storm Ralph Waldo Emerson Emerson, Ralph Waldo 205<P>The Paperweight Gjertrud Schnackenberg Schnackenberg, Gjertrud 207<P>From Snow-Bound John Greenleaf Whittier Whittier, John Greenleaf 208<P>The Snow Donald Hall Hall, Donald 211<P>Lines Written on a Window at the Leasowes at a Time of Very Deep Snow William Shenstone Shenstone, William 213<P>Silver Filigree Elinor Wylie Wylie, Elinor 214<P>To a Leaf Falling in Winter W. S. Merwin Merwin, W. S. 215<P>Runes, Blurs, Sap Rising Amy Clampitt Clampitt, Amy 217<P>Crows in Winter Anthony Hecht Hecht, Anthony 218<P>Snow-Flakes Henry Wadsworth Longfellow Longfellow, Henry Wadsworth 219<P>Afterflakes Robert Frost Frost, Robert 220<P>The Snow Man Wallace Stevens Stevens, Wallace 221<P>"Now winter nights enlarge" Thomas Campion Campion, Thomas 222<P>A Winter Twilight Angelina Weld Grimke Grimke, Angelina Weld 223<P>Winter Fear Kay Ryan Ryan, Kay 224<P>Sestina d'Inverno Anthony Hecht Hecht, Anthony 225<P>Winter Scene A. R. Amnions Amnions, A. R. 227<P>"There's a certain Slant of light" Emily Dickinson Dickinson, Emily 228<P>Year's End Richard Wilbur Wilbur, Richard 229<P>Snow and Snow Ted Hughes Hughes, Ted 231<P>"The night is darkening round me" Emily Bronte Bronte, Emily 233<P>Stopping by Woods on a Snowy Evening Robert Frost Frost, Robert 234<P>California Winter Karl Shapiro Shapiro, Karl 235<P>Winter William Carlos Williams Williams, William Carlos 237<P>"The Sky is low - the Clouds are mean" Emily Dickinson Dickinson, Emily 238<P>Orchard Trees, January Richard Wilbur Wilbur, Richard 239<P>February Afternoon Edward Thomas Thomas, Edward 240<P>February 13, 1975 James Schuyler Schuyler, James 241

<p><P>Tony Medina is a poet, professor, activist, and author of ten books, including <b>DeShawn Days,</b> <b>Love to Langston</b>, and <b>Role Call&#58; A Generational Anthology of Social and Political Black Literature & Art</b>. <P>Louis Reyes Rivera is a professor of Pan African, Caribbean, Puerto Rican, and African American history and literature. A noted poet and essayist, he is the recipient of more than twenty citations, including a Special Congressional Recognition Award for his work as an activist poet. Def Poetry Jam is a multimedia poetry project featuring live showcases and jams across the country, a website, and other projects aimed at bringing poetry to new audiences.</p>

<b>Bum Rush the Page</b> is a groundbreaking collection, capturing the best new work from the poets who have brought fresh energy, life, and relevance to American poetry. <p>“Here is a democratic orchestration of voices and visions, poets of all ages, ethnicities, and geographic locations coming together to create a dialogue and to jam–not slam. This is our mouth on paper, our hearts on our sleeves, our refusal to shut up and swallow our silence. These poems are tough, honest, astute, perceptive, lyrical, blunt, sad, funny, heartbreaking, and true. They shout, they curse, they whisper, and sing. But most of all, they tell it like it is.”<br> –Tony Medina, from the Introduction</p>

<b>The Way We Move</b><br> the way we move, funk groove beat the rhythm out some pavement,<br> our elegant violent attitude, quick slow motion movement in quicksand in somebody else's shit house shanty town shingly jingly chains clamped on our neck,<br> hang to the floor scrape spark and clink and we make music out of this cool behind dark shades, taught to fear the sun, hiding in beauty parlors and bars draggy face with hatred and ugliness,<br> and it only comes when you don't accept the natural gifts, the fingerprints of a higher order of peace and simple logic, what makes us phenomenal is that we can sleep walk in harmony, never breaking a sweat 'cept in factories or bars, prisons we even build systems for, our own street logic and survival, but this is not where we're meant to be, not on the operating table of extinction or at the broken doorstep of finality stumbling drunk confused scagged out on whiteness and greed and stupidity into the bleeding face of our dead father, and we are not supposed to move this way, slow mumbling suicide in quicksand and defeat we must refocus, we must see again <p class="null1">Tony Medina (New York)</p> <p><b>. . . And the Saga Continues</b><br> for Gary Graham</p> <p>From Guinea to Haiti to Brooklyn And back From Guinea to Haiti to the Bronx And back From Brooklyn to the Bronx to LA And back From Philly to Haiti to the New Jersey Turnpike And back From village to hamlet to Borough And back From LA to Orange to Newark to Guinea And back From PR to the Bronx Brooklyn Queens Guinea And back From Soundview to no view of the anguish of . . .<br> Mother Mother why have you forsaken me</p> <p>Bless me father for they are winning And my mutter is crying Bless me father for my mutter is crying At the sight of my dying Save me Lord from being vanquished Save my mutter from this anguish</p> <p>From Harlem to the Bronx to Brooklyn Queens Newark San Juan and the nation's highways I languish In my blood and tears of my mother's anguish And back</p> <p>Call the name . . . Call the names I say you know them better than I</p> <p>Shaka Sankofa Malcolm Ferguson Patrick Doresmond Abner Louima Amadou Diallo Kevin Cedeno James Byrd Matthew Sheppard Anthony Baez Michael Stewart Earl Faison . . . etc. etc. etc.</p> <p>And the list gets longer week by week An African got lynched today Juneteenth 2000</p> <p>From Texas to Chicago to Watts to Newark And back From PR to Cuba to the Dominican Republic And back</p> <p>Africa calls from the bottom of the Atlantic And back From Ghanaian fields smooth black skin Turns purplish under lash under water And back</p> <p>Can you hear them gurgle . . . Abnerrrrr Can you hear them scream . . . Amadouuuuuuuu Can you hear the windpipe snap . . . Antonyyyyyyyyap</p> <p>Blessed be Blessed be Blessed be Dear Lord have mercy Lord have mercy Have mercy on me bless me father for I have sinned . . .<br> with my mind I daily will demise of the western ways and all of its compatriots</p> <p>Bless me father with a bottle of scupernog or Wild Irish Rose to soften the blow of this monster's breath upon my neck And back</p> <p>in harlem in havana in charleston in Porto Prince the saga continues . . .<br> blood blood I say blood in the rectum bullets in the gut in the head the chest neck And back</p> <p>A rope a nightstick pepper spray Or a lethal illegal injection from the State the state of tex ass where seldom is heard an encouraging word and the sky is cloudy all year how 'bout florida or new jersey or new york the city so nice they kill you twice</p> <p>Next stop Ghana to the Congo to Zimbabwe And back</p> <p class="null1">Ted Wilson (Orange, NJ)</p>

<p><P><b>Bum Rush the Page</b> is a groundbreaking collection, capturing the best new work from the poets who have brought fresh energy, life, and relevance to American poetry.<P>&#8220;Here is a democratic orchestration of voices and visions, poets of all ages, ethnicities, and geographic locations coming together to create a dialogue and to jam&#8211;not slam. This is our mouth on paper, our hearts on our sleeves, our refusal to shut up and swallow our silence. These poems are tough, honest, astute, perceptive, lyrical, blunt, sad, funny, heartbreaking, and true. They shout, they curse, they whisper, and sing. But most of all, they tell it like it is.&#8221; <br>&#8211;Tony Medina, from the Introduction</p><h3>Publishers Weekly</h3><p>To most readers, the hundreds of tightly rhymed, orally friendly poems here will read as "slam." But in his introduction, Medina, a poet and activist, takes great pains to separate the poems from slam's crowd-pleasing limitations, and uses the term "def jam" to describe the political spoken-word poetry he and Rivera, also a poet-activist, have collected. Medina's and Rivera's emphasis is on the poem and its subject matter, not the poet, which makes for a remarkably democratic anthology. Every poet has about the same page and a half of space. The book's design puts the poets' names in a very small type. None of the big names June Jordan, Reg E. Gaines, Edwin Torres, Wanda Coleman, Patricia Smith and Amiri Baraka are given more attention than the less published. Organized by subjects such as "Blood, I Say, Study our Story, Sing this Song," "Drums Drown Out Our Sorrow" and "Seeds of Resistance," most of the poems use urban imagery, tough talk and declaration. Most are identity-centered, anti-racist and pro-activist. Many focus on current events. There are, for instance, at least four poems about Amadou Diallo, the unarmed Ghanaian immigrant killed by New York policemen as he stood in his doorway. All mention the 41 shots; all include the word "mother." There are poems about Shaka Sankofa (convicted of murder at 17, and executed nearly 20 years later under Texas's then-Governor George W. Bush), and homages to Cuban bandleader Tito Puente. Some readers will wish for more variation of theme and for more layered meanings, but the topicality and directness of the poems make this an ideal textbook for introductory poetry classes, especially for urban high school students, and for anyone interestedin poetry as a social art. (Oct.) Copyright 2001 Cahners Business Information.</p>

<TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">xv</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">xix</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Invocation</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We Have Been Believers</TD><TD WIDTH="10%" ALIGN="RIGHT">xxv</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Poet Is Not a Juke Box</TD><TD WIDTH="10%" ALIGN="RIGHT">xxvi</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nommo</TD><TD WIDTH="10%" ALIGN="RIGHT">xxvii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Jive</TD><TD WIDTH="10%" ALIGN="RIGHT">xxviii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">failure of an invention</TD><TD WIDTH="10%" ALIGN="RIGHT">xxviii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Building</TD><TD WIDTH="10%" ALIGN="RIGHT">xxix</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Disdirected</TD><TD WIDTH="10%" ALIGN="RIGHT">xxxi</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blood I Say, Study Our Story, Sing This Song</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Way We Move</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">... And the Saga Continues</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bad Times</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Do</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Like a Dog</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lonely Women</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Other Side</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">N</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Her Scream Has Been Stolen</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crater Face</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">susu</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Asian Am Anthem</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Scout</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This Old Man</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Afternoon Train</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beginning at the End: Capital/Capitol Punishment</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Open Your Mouth--and Smile</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Chinese Man in Smyma</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">450 Years of Selective Memory (Smile)</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">the n-word</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">an open letter to the entertainment industry</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Metropolitan Metaphysics</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">America Eats Its Young</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">laughin at cha</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rosa's Beauty</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Overworked</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nintendo</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stealth-Pirates of Cyberia</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Death of Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Last Visit to Chestnut Middle School</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Learning to Drive at 32</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. BOOM BOOM Man</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Road to the Presidency</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For What It's Worth</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Every Word Must Conjure</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It's Called Kings</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Billy</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Become Unconscious</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to an Unconceived Son</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Usual Suspects</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blooming Death ... Blossoms</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What the Oracle Said</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The U.S.A. Court of No Appeal</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">on the state-sanctioned murder of shaka sankofa</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Epistle to the Revolutionary Bible</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Warrior Womb</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cowboynomics</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Demockery</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Executive Privilege</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Question</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">georgia avenue, washington d.c.</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Palace of Mourners</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Palestine</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Road from Khartoum</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Modern Love Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Praise of the Seattle Coalition</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blood Is the Argument</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drums Drown Out the Sorrow</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amadou Diallo from Guinea to the Bronx Dead on Arrival</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Another Scream</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Well-Bred Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amadou</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">BLS</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">after diana died</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dudley Randall (1914-2000)</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hoodoo Whisper</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sammy Davis, Jr.</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glad All Over</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dancing after Sanchez</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The 13th Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Black Churches</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Gwendolyn Brooks</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">tonal embryology</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Zizwe</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All, Bomaye</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Phyllis</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Timbalero</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Puente</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Somalia</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">epitaph for Etheridge Knight</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Farewell Queen Mother Moore</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Palenque Queen by Habana's Shores</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When the Definition of Madness Is Love</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">January Hangover</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">the hardest part about love</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lies We Tell Ourselves</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">8 ways of looking at pussy</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Temporary Insanity</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">alone in belize</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">footprints</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Big World Look Out</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bullet Hole Man: A Love Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dreadlocks</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Roots</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Six Minutes Writing</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Diner</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fullness</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wet Dream</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">foursomes</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wishing You</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shunning an Imperative</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">January 8, 1996</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Poem for You</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Throbs for the Instructress</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the Frenchman's</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mata Hari Blues or Why I Will Never Be a Spy</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yellah</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Extremes Ain't My Thing As Salaam Alaikum</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">13</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">rock candy</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love Jam</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cocaine Mad-Scream Article #33 LoveSong</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We Whose Fathers Are Hidden</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Elders Are Gods</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What the Dead Do</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">creation is a cycle</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Birth</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Daughter-to-Father Talk</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tattooing the Motherline</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Our Fathers</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mama's Magic</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Father's Day</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Momma in Red</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wildlife</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chicago on the Day Brother Increases His Chances of Reaching Age 21</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lest We Forget</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The African Burial Ground Called Tribeca</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">fatherless townships</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Waiting for the Results of a Pregnancy Test</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sitting in the Doctor's Office the Next Day</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Circa</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seed of Resistance</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cooking</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ben Hur</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">in 5th grade</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Complected</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Broken Ends Broken Promises</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Name's Not Rodriguez</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Water from the Well</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tragic Mulatto Is Neither</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beauty Is Moving Us Forward</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm Sayin Though</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">beauty rituals 2000</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Medusa</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stariette</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">exceptions</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What the deal, son?</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Plain Ole Brother Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why I Be a Goddess</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm the Man</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dare to Be Different</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thoughts from a Bar Stool</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Blue Black Pearl</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">runnin</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">conversations in the struggle</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Harvest: A Line Drawing</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">joseph speaks to gericault in the studio</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Entrancielo</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New York Seizures</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hey Yo / Yo Soy!</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Flying over America</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It Was the Music That Made Us</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm a Hip Hop Cheerleader</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">kill the dj</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ms. Cousins' Rap</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">all up in there</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Doin'</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Trash Talker</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Owed to Eminem</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Psychoalphadiscobetabioaquadoloop</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">rapid transit</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">hold it steady</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Conversation with Duke Ellington and Louis (Pops) Armstrong</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Lady and Prez</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">breath</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Flow</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bebop Trumpet</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">conjugation of the verb: to blow</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Creed of a Graffiti Writer</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sonido Ink(quieto)</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">because I am it's a race thing trip</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grasshopper</TD><TD WIDTH="10%" ALIGN="RIGHT">217</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grace</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Low End</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">rep/resent</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">2G (Another Millennium Poem)</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">enter(f*#@ckin)tained</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Children of the Word</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Motherseed</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wake Up, My Little Pretties</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">nommo: how we come to speak</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">spaNglisH</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New Boogaloo</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mi Negrito</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">News of the World</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Much of Your Poetry Is Beautiful</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ginsberg</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Bed with James Tate</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">soulgroovin ditty #7</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sundays</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Aretha Franklin from Sparkle</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lumumba Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All the shoes are shined and the cotton is picked</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In this day age</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Trouble I've Seen</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Having Lost My Son, I Confront the Wreckage</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bensonhurst</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Michael Griffith, Murdered Dec. 21, 1986, Howard Beach, NY</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lift Every Fist and Swing</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">TV Dinner</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bluesman</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We're Not Well Here</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nickel Wine and Deep Kisses</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Coward</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strip</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sex</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">enemies</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">American Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">So Many Books, So Little Time</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Be a Street Poet</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Adventures of Grandmaster Flash</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">X</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tradition</TD><TD WIDTH="10%" ALIGN="RIGHT">265</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">There It Is</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD></TABLE>

<article> <h4>Publishers Weekly</h4>To most readers, the hundreds of tightly rhymed, orally friendly poems here will read as "slam." But in his introduction, Medina, a poet and activist, takes great pains to separate the poems from slam's crowd-pleasing limitations, and uses the term "def jam" to describe the political spoken-word poetry he and Rivera, also a poet-activist, have collected. Medina's and Rivera's emphasis is on the poem and its subject matter, not the poet, which makes for a remarkably democratic anthology. Every poet has about the same page and a half of space. The book's design puts the poets' names in a very small type. None of the big names June Jordan, Reg E. Gaines, Edwin Torres, Wanda Coleman, Patricia Smith and Amiri Baraka are given more attention than the less published. Organized by subjects such as "Blood, I Say, Study our Story, Sing this Song," "Drums Drown Out Our Sorrow" and "Seeds of Resistance," most of the poems use urban imagery, tough talk and declaration. Most are identity-centered, anti-racist and pro-activist. Many focus on current events. There are, for instance, at least four poems about Amadou Diallo, the unarmed Ghanaian immigrant killed by New York policemen as he stood in his doorway. All mention the 41 shots; all include the word "mother." There are poems about Shaka Sankofa (convicted of murder at 17, and executed nearly 20 years later under Texas's then-Governor George W. Bush), and homages to Cuban bandleader Tito Puente. Some readers will wish for more variation of theme and for more layered meanings, but the topicality and directness of the poems make this an ideal textbook for introductory poetry classes, especially for urban high school students, and for anyone interestedin poetry as a social art. (Oct.) Copyright 2001 Cahners Business Information. </article>

<p><b>Kenneth E. Hartman</b> has served over 29 continuous years in the California Department of Corrections and Rehabilitation on a life without the possibility of parole sentence. An award-winning writer and prison reform activist, he helped establish the Honor Program at California State Prison-Los Angeles County. He is currently leading a grassroots campaign to abolish life sentences.</p>

<p>"A magnificent inquiry into the human condition."&mdash;<b>Publishers Weekly</b>, starred review</p><h3>Publishers Weekly</h3><p>Starred Review. <P>In this memoir, a magnificent inquiry into the human condition, a man serving a life sentence in the California prison system documents the brutality and inhumanity of life "inside," where criminals are victimized rather than rehabilitated, and chaos flowers among the despairing. Hartman, an eloquent, middle-aged prisoner convicted of murder at 19, tells a sad but unsentimental story: a rough childhood and a wish for invincibility fueled Hartman's youth and downfall, but in the time since, he has married in prison, fathered a child, and currently works to improve the broken U.S. prison system. Hartman discovered his talent in a writing class, after having abandoned drugs; using it, he examines up close the "mad, violent circus" of prison life, his place in it, and the fate of his fellow prisoners: "Under the big tent of this brutally unnatural environment, few of us ever take the frightening step of analyzing our deeper motives." <BR>Copyright &copy; Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p>

"Impressive....Haunting....Enchanting...Every story in the book, which covers nearly a century of tradition, is interesting, written with intelligent passion."<br> THE NEW YORK TIMES BOOK REVIEW Native American scholar, literary critic, poet, and novelist Paula Gunn Allen, who is herself a Laguna Pueblo-Sioux Indian, became increasingly aware in her academic career that the writings of Native Americans, especially women, have been marginalized by the Western literary canon. Allen set out to understand why this was so and, more importantly, to remedy the situation. The result is this powerful collection of traditional tales, biographical writings, and contemporary short stories, many by the most accomplished Native American women writing today, including: Louise Erdrich, Mary TallMountain, Linda Hogan, and many others. <p>According to Cherokee legend, Grandmother Spider brought the light of intelligence to the people. For the first time, Spider Woman's Granddaughters brings to light the original American. It is a unique addition to feminist literatire--and a treasure trove for the ever-increasing audience for Native American works. </p>

<p><P>&quot;Impressive....Haunting....Enchanting...Every story in the book, which covers nearly a century of tradition, is interesting, written with intelligent passion.&quot;<br>THE NEW YORK TIMES BOOK REVIEW Native American scholar, literary critic, poet, and novelist Paula Gunn Allen, who is herself a Laguna Pueblo-Sioux Indian, became increasingly aware in her academic career that the writings of Native Americans, especially women, have been marginalized by the Western literary canon. Allen set out to understand why this was so and, more importantly, to remedy the situation. The result is this powerful collection of traditional tales, biographical writings, and contemporary short stories, many by the most accomplished Native American women writing today, including&#58; Louise Erdrich, Mary TallMountain, Linda Hogan, and many others.</p>

<p><P><b>Molly O'Neill</b>, editor, was for a decade the food columnist for <i> The New York Times Magazine</i> and the host of the PBS series <i>Great Food</i>. Her work has appeared in many national magazines, and she is the author of three cookbooks, including the award-winning <i>The New York Cookbook</i>. Her most recent book is <i>Mostly True&#58; A Memoir of Family, Food, and Baseball</i>.</p>

<p><P>Now in paperback, this groundbreaking anthology from celebrated food writer Molly O'Neill is a history of America as told by our tastebuds. Here are classic accounts of iconic American foods&#58; Thoreau on the delights of watermelon; Melville, with a mouth-watering chapter on clam chowder; Mencken on the hot dog; M.F.K. Fisher in praise of the oyster; Ellison on the irresistible appeal of baked yams; Styron on Southern fried chicken. American writers abroad describe the revelations they find in foreign restaurants; travelers to America discover native delicacies. Great chefs and noted critics discuss their culinary philosophies and offer advice on the finer points of technique; home cooks recount disasters and triumphs. <i>American Food Writing</i> celebrates the astonishing variety of American foodways, with accounts from almost every corner of the country and a host of ethnic traditions. A surprising range of subjects and perspectives emerge, as writers address such topics as fast food, dieting, and the relationship between food and sex. Throughout the book are fifty authentic recipes that tell the story of American food and will delight and inspire home chefs.</p>

<p>Weaving together poetry and prose, Spanish and English, family history and political theory, <i>Loving in the War Years</i> has been a classic in the feminist and Chicano canon since its 1983 release. This new edition—including a new introduction and three new essays—remains a testament of Moraga's coming-of-age as a Chicana and a lesbian at a time when the political merging of those two identities was severely censured.</p> <p>Drawing on the Mexican legacy of Malinche, the symbolic mother of the first mestizo peoples, Moraga examines the collective sexual and cultural wounding suffered by women since the Conquest. Moraga examines her own mestiza parentage and the seemingly inescapable choice of assimilation into a passionless whiteness or uncritical acquiescence to the patriarchal Chicano culture she was raised to reproduce. By finding Chicana feminism and honoring her own sexuality and loyalty to other women of color, Moraga finds a way to claim both her family and her freedom.</p> <p>Moraga's new essays, written with a voice nearly a generation older, continue the project of "loving in the war years," but Moraga's posture is now closer to that of a zen warrior than a street-fighter. In these essays, loving is an extended prayer, where the poet-politica reflects on the relationship between our small individual deaths and the dyings of nations of people (pueblos). <i>Loving</i> is an angry response to the "cultural tyranny" of the mainstream art world and a celebration of the strategic use of "cultural memory" in the creation of an art of resistance.</p> <p><b>Cherríe Moraga</b> is the co-editor of the classic feminist anthology <i>This Bridge Called My Back</i> and the author of <i>The Last Generation.</i> She is Artist-in-Residence at Stanford University.</p>

Keep up with current culture while you integrate the perspectives of Christian faith. This two-part resource helps adults explore the issues of discipleship and theology through the guided interaction of 8-10 selections of American literature. Volume 3 authors include John Cheever, Tillie Olsen, Wallace Stegner, and others. Features a reader edition for participants and a guide for leaders.

<p>Where do you listen for God? In this new collection of stories and essays, the challenge is to pay attention everywhere. <I>Listening for God</i> is a resource intended to help readers investigate how life and faith merge in surprising ways and places. Contemporary American literature may not be the most predictable place to listen for God, but it may well turn out to be among the most rewarding.</p>

<table> <tr><td>Introduction</td></tr> <tr><td>1. John Cheever</td></tr> <tr><td>The Five-Forty-Eight</td></tr> <tr><td>2. Mary Gordon</td></tr> <tr><td>Mrs. Cassidy's Last Year</td></tr> <tr><td>3. Wendell Berry</td></tr> <tr><td>Pray without Ceasing</td></tr> <tr><td>4. Oscar Hijuelos</td></tr> <tr><td>Christmas 1967</td></tr> <tr><td>5. Reynolds Price</td></tr> <tr><td>Long Night</td></tr> <tr><td>6. Louis Erdrich</td></tr> <tr><td>Satan: Hijacker of a Planet</td></tr> <tr><td>7. Tess Gallagher</td></tr> <tr><td>The Woman Who Prayed</td></tr> <tr><td>8. Tillie Olsen</td></tr> <tr><td>O Yes</td></tr> <tr><td></td></tr> </table>

<p><P>WILLIAM HARMON is the James Gordon Hanes Professor of English at the University of North Carolina, Chapel Hill. He is the editor of <I>The Top 500 Poems</I> (Columbia), <I>The Oxford Book of American Light Verse</I>, and recent editions of <I>A Handbook to Literature</I>, and the author of several volumes of poetry, including winners of the Lamont Award and the William Carlos Williams Award.<p><p></p>

<p><i>The Top 500 Poems</i> offers a vivid portrait of poetry in English, assembling a host of popular and enduring poems as chosen by critics, editors, poets, and general readers. These works speak across centuries, beginning with Chaucer's resourceful inventions and moving through Shakespeare's masterpieces, John Donne's complex originality, and Alexander Pope's mordant satires. The anthology also features perennial favorites such as William Blake, William Wordsworth, and John Keats; Emily Dickinson's prisms of profundity; the ironies of Wallace Stevens and T.S. Eliot; and the passion of Sylvia Plath and Allen Ginsberg. These 500 poems are verses that readers either know already or will want to know, encapsulating the visceral power of truly great literature. William Harmon provides illuminating commentary to each work and a rich introduction that ties the entire collection together.</p> <p> Columbia University Press</p> <p>For the first time, here is our generation's definitive view of the greatest poetry in the English language. This collection of 500 poems is based on the collective choice of 550 critics, editors, and poets whose anthologies are indexed in The Columbia Granger's Index to Poetry. If you've wondered which collection of poetry to buy for yourself or as a special gift--this is it! </p>

<p><P>This is the story of poetry in English, a collection of the best 500 poems, based not on one critic's choice, not on one poet's choice, but on the collective choice of 550 critics, editors, and poets.<p></p><h3>School Library Journal</h3><p>YA-- A chronological compilation that tells ``the story of poetry in English.'' Harmon enhances each entry with pertinent information about the work and the poet; his insight adds much to the enjoyment of the collection. The selections are taken from the ninth edition of The Columbia Granger's Index to Poetry , chosen because 400 contemporary editors, critics, and poets included them most often in their own anthologies. ``The Poems in Order of Popularity'' concludes the book. Easy-to-read print with a look of fine calligraphy on high-quality paper add to the appeal.-- Arlene Hoebel, W. T. Woodson High School, Fairfax, VA</p>

<p>1 This Is It!Anonymous (c.1250-c.1350)7 Cuckoo SongGeoffrey Chaucer (c.1340-1400)8 General Prologue to The Canterbury TalesAnonymous (c.1400-1600)10 Sir Patrick Spens14 Western Wind15 Edward, Edward18 Thomas the Rhymer21 The Wife of Usher's Well23 As You Came from the Holy Land of Walsingham25 Corpus Christi Carol26 The Three Ravens28 Tom o' Bedlam's Song31 Adam Lay I-bounden32 Lord Randal33 The Cherry-Tree Carol35 The Lord Is My Shepherd36 I Sing of a Maiden37 A Lyke-Wake Dirge39 My Love in Her Attire40 The Demon Lover43 Weep You No More, Sad Fountains44 The Unquiet Grave46 Waly, WalyJohn Skelton (1460?-1529)48 To Mistress Margaret HusseySir Thomas Wyatt (1503-1542)50 They Flee from Me That Sometime Did Me Seek52 The Lover Complaineth the Unkindness of His Love54 Whoso List to HuntSir Walter Ralegh (1554?-1618)55 The Nymph's Reply to the Shepherd57 The LIe60 Even Such Is Time61 The Passionate Man's PilgrimageEdmund Spenser (c.1552-1599)64 One Day I Wrote Her Name upon the Strand65 ProthalamionSir Philip Sidney (1554-1586)71 With How Sad Steps, O Moon, Though Climb'st the Skies!72 Leave Me, O Love, Which Reachest But to Dust73 My True Love Hath My Heart74 Loving in Truth, and Fain in Verse My Love to Show75 Come Sleep! O Sleep, the Certain Knot of PeaceGeorge Peele (c.1558-1597)76 His Golden Locks Time Hath to Silver Turned78 Whenas the Rye Reach the ChinRobert Southwell (c.1561-1595)79 The Burning BabeSamuel Daniel (1562-1619)80 Care-Charmer Sleep, Son of the Sable NightMichael Drayton (1536-1593)81 Since There's No Help, Come Let Us Kiss and PartChristopher Marlowe (1564-1593)82 The Passionate Shepherd to His LoveWilliam Shakespeare (1564-1616)84 That Time of Year Thou Mayst in Me Behold86 Shal I Copmare Thee to a Summer's Day?87 Let Me Not to the Marriage of True Minds88 Fear No MOre the Heat o' the Sun89 When Icicles Hang by the Wall90 Full Fathom Five Thy Father Lies91 When to the Sessions of Sweet Siletn Thought92 O Mistress Mine93 The Expense of Spirit in a Waste of Shame94 When in Disgrace with Fortune and Men's Eyes95 When Daisies Pied96 It Was a Lover and His Lass97 My Mistress' Eyes Are Nothing like the Sun98 Poor Soul, the Center of My Sinful Earth99 Hark! Hark! the Lark!100 Take, O Take Those Lips Away101 Farewell! Thou Art Too Dear for My Possessing102 Where the Bee Sucks, There Suck I103 When That I Was and a Little Tiny Boy104 Full Many a Glorious Morning Have I Seen105 No Longer Mourn for Me When I Am Dead106 Tired with All These, for Restful Death I Cry107 Like as the Waves Make towards the Pebbled Shore108 When Daffodils Begin to Peer109 How like a Winter Hath My Absense Been110 Since Brass, nor Stone, nor Earth, nor Boundless Sea111 Come Away, Come Away, Death112 Come unto These Yellow Sands113 Tell Me Where Is Fancy BredThomas Campion (1567-1620)114 My Sweet Lesbia115 Rose-cheeked Laura116 There Is a Garden in Her Face117 Thrice Toss These Oaken Ashes in the AirThomas Nashe (1567-1601)118 Adieu, Farewell, Earth's Bliss120 Spring, the Sweet SpringChidiock Tichborne (c.1568-1586)121 Tichborne's ElegySir Henry Wotton (1568-1639)123 On His Mistress, the Queen of BohemiaJohn Donne (1572-1631)125 Death, Be Not Proud126 Batter My Heart, Three-Person'd God127 The Good Morrow128 At the Round EArth's Imagined Corners129 Go and Catch a Falling Star131 The Sun Rising133 A Valediction: Forbidding Mourning135 A Hymn to God the Father136 The Ecstasy139 The Canonization141 The Flea143 Hymn to God My God, in My Sickness145 Sweetest Love, I Do Not Go147 A Nocturnal upon St. Lucy's Day, Being the Shortest Day149 The Funeral150 The Apparition151 The Relic153 Good Friday, 1613. Riding Westward155 The AnniversaryBen Johnson (1572-1637)157 Drink to Me Only with Thine Eyes158 On My First Son159 Hymn to Diana160 Still to Be Neat161 The Triumph of Charis163 Epitaph on S.P.164 Slow, Slow, Fresh Fount, Keep Time with My Salt Tears165 Come, My Celia, Let Us Prove166 To PensburstJohn Webster (c.1578-1632)170 Call for the Robin Redbreast and the WrenWilliam Browne (c.1590-1645)171 On the Countess Dowarger of PembrokeRobert Herrick (1591-1674)172 To the Virgins, to Make Much of Time173 Upon Julia's Clothes174 Delight in Disorder175 To Daffodils176 The Argument of His Book177 Corinna's Going a-Maying180 The Night-Piece to Julia181 Grace for a ChildHenry King, Bishop of Chichester (1592-1669)182 Exequy on His WifeGeorge Herbert (1593-1633)186 Love Bade Me Welcome188 The Collar190 Virtue191 The Pulley192 Redemption193 Easter Wings194 Jordan195 Prayer to the Church's BanquetThomas Carew (1595-1639)196 Ask Me No More Where Jove Bestows198 To My Inconstant MistressSir William Davenant (1606-1668)199 The Lark Now Leaves His Watery NestEdmund Waller (1606-1687)200 Go, Lovely Rose202 On a GirdleJohn Milton (1608-1674)203 Lycidas209 On His Deceased wife210 On His Blindness211 On the Late Massacre in Piedmont212 L'Allegro217 Il PenserosoSir John Suckling (1609-1642)222 Why So Pale and Wan, Fond Lover?Anne Bradstreet (c.1612-1672)223 To My Dear and Loving HusbandRichard Lovlace (1618-1658)224 To Lucasta, Going to the Wars225 To Althea, from Prison227 The GrasshopperAndrew Marvell (1621-1678)229 To His Coy Mistress231 The Garden234 The Definition of Love236 Bermudas238 An Horatian Ode upon Cromwell's Return from Ireland242 The Picture of Little T.C. in a Prospect of Flowers244 The Mower to the Glow-Worms245 A Dialogue between the Soul and BodyHenry Vaughan (1622-1695)247 The Retreat249 The World251 They Are All Gone into the World of Light253 Peace254 The NightJohn Dryden (1631-1700)256 To the Memory of Mr. Oldham258 Mac Clecknoe265 A Song for St. Cecilia's Day, 1687268 Alexander's Feast; or, The Power of MusicEdward Taylor (c.1645-1729)275 HuswiferyJonathan Swift (1667-1745)276 A Description of the MorningAlexander Pope (1688-1744)277 Know Then Thyself279 Epistle to Dr. Arbuthnot291 An Essay on CriticismSamuel Johnson (1709-1784)312 A Short Song of Congratulation314 On the Death of Mr. Robert Levet, a Practiser in Physic316 The Vanity of Human Wishes: The Tenth Satire of Juvenal ImitatedThomas Gray (1716-1771)327 Elegy Written in a Country Churchyard333 Ode on the Death of a Favorite Cat, Drowned in a Tub of Gold FishesWilliam Collins (1721-1759)335 Ode to Evening337 How Sleep the BraveOliver Goldsmith (c.1730-1774)338 When Lovely Woman Stoops to Folly339 An Elegy on the Death of a Mad Dog341 The Deserted VillageWilliam Cowper (1731-1800)354 Light Shining out of Darkness356 The Poplar FieldPhilip Freneau (1752-1832)357 The Indian Burying GroundWilliam Blake (1757-1827)359 The Tyger361 London362 And Did Those Feet in Ancient Time363 Piping down the Vailleys Wild364 The Sick Rose365 The Lamb366 Ah! Sun-Flower367 Hear the Voice of the Bard368 Auguries of Innocence372 How Sweet I Roam'd from Field to Field373 The Little Black Boy375 A Poison Tree376 The Chimney Sweeper378 To the Evening Star379 The Garden of Love380 The Clod and the Pebble381 Holy Thursday382 Mock On, Mock On, Voltaire, RousseauRobert Burns (1759-1796)383 A Red, Red Rose384 To a Mouse on Turning Her Up in Her Nest with the Plough, November, 1785386 John Anderson, My Jo387 The Banks o' Doon388 For A' That and A' That390 Holy Willie's PrayerWilliam Wordsworth (1770-1850)394 The World Is Too Much with Us396 I Wandered Lonely as a Cloud397 Composed upon Westminster Bridge, September 3, 1802398 The Solitary Reaper400 Ode: Intimations of Imortality from Recollections of Early Childhood407 Lines Composed a Few Miles above Tintern Abbey Lucy (comprising:)412 She Dwelt among the Untrodden Ways412 I Traveled among Unkown Men413 Strange Fits of Passion Have I Known414 Three Years She Grew in Sun and Shower415 A Slumber Did My Spirit Seal416 It Is a Beauteous Evening417 London, 1802418 My Heart Leaps Up419 Surprised By Joy420 She Was a Phantom of Delight421 Resolution and IndependenceSir Walter Scott (1771-1832)426 Proud Maisie427 Breathes There the Man with Soul So Dead428 LochinvarSamuel Taylor Coleridge (1772-1834)430 Kubla Khan433 The Rime of the Ancient Mariner458 Dejection: An Ode463 Frost at MidnightRobert Southey (1774-1843)466 The Battle of BlenheimWalter Savage Landor (1775-1864)469 Rose Aylmer470 Dirce471 I Strove with None, for None Was Worth My Strife472 Past Ruined Ilion Helen LivesThomas Campbell (1777-1844)473 Hohenlinden Clement Clarke Moore (1779-1863)475 A Visit from St. NicholasLeigh Hunt *1784-1859)477 Jenny Kissed Me478 Abou Ben AdhemGeorge Gordon Noel Byron, 6th Baron Byron (1788-1824)479 So We'll Go No More a-Roving481 She Walks in Beauty482 The Destruction of Sennacherib484 When We Two Parted486 The Ocean489 There Was a Sound of Revelry by NightCharles Wolfe (1791-1823)493 The Burial of Sir John Moore after CorunnaPercy Bysshe Shelley (1792-1822)495 Ozymandias497 Ode to the West Wind500 To a Skylark504 Music, When Soft Voices Die505 To Night507 England in 1819508 To _____509 AdonaisJohn Clarke (1793-1864)528 I AmWilliam Cullen Bryant *1794-1878)530 To a Waterfowl532 ThanatopsisJohn Keats (1795-1821)535 To Autumn537 La Belle Dame sans Merci539 La Belle Dame sans Merci (Revised Version)541 On First Looking into Chapman's Homer542 Ode to a Nightingale546 Old on a Grecian Urn548 When I Have Fears549 Ode on Melancholy551 The Eve of St. Agnes565 Bright Star566 Ode to PsycheThomas Hood (1799-1845)569 I Remember, I RememberThomas Lovell Beddoes (1803-1849)571 Old Adam, the Carrion CrowRalph Waldo Emerson (1803-1882)573 Concord Hymn574 The Snow-Storm575 The Rhodora576 Brahma577 Fable578 DaysElizabeth Barrett Browning (1806-1861)579 How Do I Love Thee? Let Me Count the WaysHenry Wadsworth Longfellow (1807-1882)580 My Lost Youth584 Paul Revere's Ride589 ChaucerJohn Greenleaf Whittier (1807-1892)590 Barbara Frietchie593 Snow-Bound: A Winter IdylOliver Wendell Holmes (1809-1894)615 The Deacon's Masterpiece; or, The Wonderful "One Hoss Shay"620 The Chambered Nautilus622 Old IronsidesEdgar Allan Poe (1809-1849)623 To Helen625 The Raven631 Annabel Lee633 The City in the Sea635 The Bells639 The Haunted PalaceAlfred Tennyson, 1st Baron Tennyson (1809-1892)641The Splendor Falls646 Break, Break, Break644 Crossing the Bar645 Ulysses648 The Eagle649 Tears, Idle Tears650 Now Sleeps the Crimson Petal651 The Charge of the Light Brigade654 Mariana657 The Lady of Shalott664 Flower in the Crannied WallRobert Browning (1812-1889)665 My Last Duchess668 Home Thoughts from Abroad669 Meeting at Night670 The Year's at the Spring671 The Bishop Orders His Tomb at St. Praxed's Church675 Parting at Morning676 Two in the CampagnaEdward Lear (1812-1888)679 The Owl and the Pussy-Cat681 The JumbliesEmily Bronte (1818-1848)684 RemebranceArthur Hugh Clough (1819-1861)686 Say Not the Struggle Nought Availeth687 The Latest DecalogueJulia Ward Howe (1819-1892)688 The Battle Hymn of the Republic690 A Noiseless Patient Spider692 O Captain! My Captain!694 When Lilacs Last in the Dooryard Bloom'd704 I Hear America Singing705 Cavalry Crossing a FordMatthew Arnold (1822-1888)706 Dover Beach708 The Scholar-GipsyWilliam Allingham (1824-1889)717 The FairiesGeorge Meredith (1824-1909)719 Lucifer in Starlight720 Thus Piteously Love Closed What He BegatDante Gabriel Rossetti (1828-1882)721 The Blessed Damozel727 The WoodspurgeEmily Dickinson (1860-1886)728 "Because I could not stop for Death"730 "I heard a Fly buzz--when I died"731 "A narrow Fellow in the Grass"732 There's a certain Slant of light"733 "A Bird came down the Walk"734 "The Soul selects her own Society"735 "I like to see it lap the Miles"736 "My life closed twice before its close"737 "Success is counted sweetest"738 "I taste a liquor never brewed"739 "After great pain, a formal feeling comes"740 "I felt a Funeral, in my Brain"741 "I never saw a Moor"742 "Much Madness is divinest Sense"Christina Georgina Rossetti (1830-1894)743 When I Am Dead744 Up-Hill745 A Birthday746 Remember"Lewis Carroll" (Charles Lutwidge Dodgson) (1832-1898)747 Jabberwocky749 The Walrus and the Carpenter753 Father William755 I'll Tell Thee Everything I Can758 How Doth the Little CrocodileSir William Schwenck Gilbert (1836-1911)759 The Yarn of the Nancy BellAlgernon Charles Swinburne (1837-1909)763 When the Hounds of Spring Are on Winter's Traces766 The Garden of ProsperpineThomas Hardy (1840-1928)770 The Darkling Thrush772 The Oxen773 In Time of "The Breaking of Nations"774 Channel Firing776 Afterwards777 The Convergence of the Twain779 The Man He Killed780 Neutral Tones781 The Ruined Maid783 The Voice784 During Wind and RainRobert Bridges (1844-1930)786 London Snow788 NightingalesGerard Manley Hopkins (1844-1889)789 Pied Beauty790 The Windhover792 God's Grandeur793 Spring and Fall794 Felix Randal795 No Worst, There Is None796 Thou Art Indeed Just, Lord797 Spring798 Heaven-Haven799 Inversnaid800 The Habit of Perfection802 Carrion ComfortEugene Field (1850-1895)803 Wynken, Blynken, and Nod805 The DuelRobert Louis Stevenson (1850-1894)807 RequiemEdwin Markham (1852-1904)808 The Man with the HoeOscar Wilde (1854-1900)810 The Ballad of Reading GaolAlfred Edward Housman (1859-1936)833 Loveliest of Trees834 To an Athlete Dying Young836 With Rue My Heart Is Laden837 When I Was One-and-Twenty838 Terence, This Is Stupid Stuff841 Into My Heart an Air That Kills842 On Wenlock Edge843 The Hound of HeavenRudyard Kipling (1865-1936)849 Recessional851 Danny DeeverWilliam Butler Yeats (1865-1939)853 The Second Coming855 Sailing to Byzantium857 Leda and the Swan858 The Lake Isle of Innisfree859 When You Are Old860 Among School Children863 An Irish Airman Foresees His Death864 Easter, 1916867 The Wild Swans at Coole869 The Circus Animals' Desertion871 A Prayer for My Daughter874 Lapis Lazuli876 The Song of Wandering Aengus877 No Second TroyGelett Burgess (1866-1951)878 The Purple CowErnest Dowson (1867-1900)879 Non Sum Qualis Eram Bonae sub Regno Cynarae880 Vitae Summa Brevis Spem Nos Vetat Incohare LongamEdgar Lee Masters (1868-1950)881 Anne RutledgeEdwin Arlington Robinson (1869-1935)882 Mr. Flood's Party885 Miniver Cheevy887 Richard Cory888 Eros Turannos890 For a Dead Lady891 Luke HavergalWilliam Henry Davies (1871-1940)893 LeisureWalter de la Mare (1873-1956)896 Stopping by Woods on a Snowy Evening897 Mending Wall899 Fire and Ice900 The Road Not Taken901 Birches903 After Apple-Picking905 Acquainted with the Night906 Provide, Provide907 The Gift Outright908 Directive910 DesignJohn Masefield (1878-1967)911 CargoesCarl Sandburg (1878-1967)912 Chicago914 Fog915 Cool Tombs916 GrassEdward Thomas (1878-1917)917 The OwlVachel Lindsay (1879-1931)918 Abraham Lincoln Walks at MidnightWallace Stevens (1879-1955)920 Sunday Morning925 Anecdote of the Jar926 The Emperor of Ice-Cream927 The Idea of Order at Key West929 Peter Quince at the Clavier932 Thirteen Ways of Looking at a BlackbirdWilliam Carlos Williams (1883-1963)935 The Red Wheelbarrow936 The Dance937 Spring and All939 The YachtsDavid Herbert Lawrence (1885-1930)941 Piano 942 Snake946 Bavarian GentiansEzra Pound (1885-1972)948 The River Merchant's Wife: A Letter950 In a Station of the MetroRupert Brooke (1887-1915)951 The SoldierRobinson Jeffers (1887-1962952 Hurt Hawks954 Shine, Perishing RepublicMarianne Moore (1887-1972)955 Poetry957 A GraveDame Edith Sitwell (1887-1964)959 Still Falls the RainThomas Stearns Eliot (1888-1965)961 The Love Song of J. Alfred Prufrock966 Journey of the Magi968 The Waste Land982 Sweeney among the Nightingales984 Gerontion987 Little GiddingJohn Crowe Ransom (1888-1974)995 Bells for John Whiteside's Daughter997 Piazza PieceClaude McKay (1890-1948)998 If We Must DieIsaac Rosenberg (1890-1918)999 Break of Day in the TrenchesArchibald MacLeish (1892-1982)1001 You, Andrew Marvell1003 Ars Poetica1005 The End of the WorldWilfred Own (1893-1918)1006 Anthem for Doomed Youth1007 Dulce et Decorum Est1008 Strange Meeting1010 Greater LoveEdward Estlin Cummings (1894-1962)1011 anyone lived in a pretty how town1013 "next to of course god america i"Hart Crane (1899-1832)1014 To Brooklyn BridgeAllen Tate (1899-1879)1017 Ode to the Confederate DeadLangston Hughes (1902-1967)1021 The Negro Speaks of RiversStevie Smith (1902-1971)1022 Not Waving But DrowningRichard Eberhart (b.1904)1023 The Fury of Aerial Bombardment1024 The GroundhogWystan Hugh Auden (1907-1973)1026 Musee des Beaux Arts1028 In Memory of W.B. Yeats1031 LullabyLouis MacNeice (1907-1963)1033 Bagpipe MusicTheodore Roethke (1908-1963)1035 My Papa's Waltz1036 I Knew a Woman1038 The Waking1039 Elegy for Jane1040 In a Dark TimeSir Stephen Spender (b.1909)1041 I Think Continually of Those Who Were Truly GreatElizabeth Bishop (1911-1979)1043 The FishRobert Hayden (1913-1980)1046 Those Winter SundaysRandall Jarrell (1914-1986)1048 Naming of PartsDylan Thomas (1914-1953)1050 Do Not Go Gentle into That Good Night1052 Fern Hill1054 A Refusal to Mourn the Death, by Fire, of a Child in London1056 The Force That through the Green Fuse Drives the FlowerGwendolyn Brooks (b.1917)1057 We Real CoolRobert Lowell (1917-1977)1058 Skunk Hour1061 For the Union Dead1064 Mr. Edward and the SpiderRichard Wilbur (b.1921)1066 Love Calls Us to the things of This WorldPhilip Larkin (1922-19851068 Church GoingAllen Ginsberg (b.1926)1071 A Supermarket in CaliforniaSylvia Plath (1932-1963)1073 Daddy1077 The Poems in Order of Popularity1093 Acknowledgements1099 Index of Poets1105 Index of Titles and First Lines</p> <p> Columbia University Press</p>

<article> <h4>Gwendolyn Brooks</h4><p>The Top 500 Poems is intriguing in concept and management, and most of us will want to own it. And for this we are grateful.</p> </article> <article> <h4>Globe & Mail</h4>A revealing snapshot of one aspect of Western civilization, even including a list of the poems in order of popularity. </article><article> <h4>Buffalo News</h4><p>The merriest poetry anthology of the past decade.... It's everything from 'Sumer is icumen in' to Sylvia Plath's 'Daddy' with terse, plain, and rather wonderful commentary by Harmon.</p> </article> <article> <h4>John Frederick Nims</h4><p>It is rare indeed to come across a book in which wisdom and love come together as powerfully as they do for William Harmon.</p> </article> <article> <h4>Globe and Mail</h4><p>A revealing snapshot of one aspect of Western civilization, even including a list of the poems in order of popularity.</p> </article> <article> <h4>Booklist</h4><p>If your library can buy only one volume of poetry, let this be it.</p> </article> <article> <h4>School Library Journal</h4>YA-- A chronological compilation that tells ``the story of poetry in English.'' Harmon enhances each entry with pertinent information about the work and the poet; his insight adds much to the enjoyment of the collection. The selections are taken from the ninth edition of The Columbia Granger's Index to Poetry , chosen because 400 contemporary editors, critics, and poets included them most often in their own anthologies. ``The Poems in Order of Popularity'' concludes the book. Easy-to-read print with a look of fine calligraphy on high-quality paper add to the appeal.-- Arlene Hoebel, W. T. Woodson High School, Fairfax, VA </article> <article> <h4>Booknews</h4>The pop title is right out of Billboard (the publisher must think poetry needs all the crossover it can get), but the collection is quite terrific--not necessarily the greatest poems (best to avoid that can of worms), but the 500 English-language poems that have appealed most often to 400 contemporary editors, critics, and poets for inclusion in their own widely disparate anthologies, which were indexed in the Ninth Edition of The Columbia Granger's Index to Poetry. From the famous pre-Chaucerian, Anonymous (c.1250-c.1350), author of "Cuckoo Song", to Plath and Ginsberg, the only problem with this anthology will be putting it down. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article> <article> <h4>From The Critics</h4>In the introduction, Harmon boldly proclaims, "This is it!" He is right. The task he set for himself was to compile an anthology with which anyone could start to gain a familiarity with poetry in English. He has nobly done yeoman's work in selecting and commenting upon the 500 poems that have been anthologized most often, based on the 400 collections indexed in the ninth edition of "The Columbia Granger's Index to Poetry". Harmon is a professor of English at the University of North Carolina and edited "The Concise Columbia Book of Poetry" and the "Oxford Book of American Light Verse". He also coedited the fifth edition of "A Handbook to Literature" Represented in "The Top 500 Poems" are 160 poets. Shakespeare has 29 entries. Anonymous has 21, Donne has 19, Blake has 18, and Dickinson and Yeats each have 14. Harmon justifies the fact that "three-quarters of the poems are British . . . because British poetry has been with us three times as long as American poetry." Coverage spans six centuries, ranging from Chaucer in the Middle Ages to Allen Ginsberg and Sylvia Plath. The nineteenth century contributed the greatest number of poems 169, with the twentieth century second with 122 The format is attractive. The paper is of high quality, margins are wide, and the poetry is in dark, readable print. Each poet is introduced with a short paragraph in small print with just enough data to pique curiosity. Comments by Harmon, in yet a different font, follow the selections. He writes with a sly sense of humor, describing alliteration as "sliding along the slippery slope of selfsame sounds." The entries for poets are in chronological order, and a detailed table of contents and a name index provide additional access points. An index of titles and first lines is included, as well as an appendix that ranks the poems according to the number of times they have been anthologized All types of libraries will be interested in this volume as a basic anthology of poetry in English. It will be welcome in elementary and secondary school library media centers, public library poetry and reference collections, home libraries, and as a gift. If your library can buy only one volume of poetry, let this be it. </article>

<p>Ruth Peltason runs Bespoke Books, a small book producing company that specializes in books on the cultural arts, including Elizabeth Taylor: My Love Affair with Jewelry, Kate Spade's Occasions, Style, and Manners. I Am Not My Breast Cancer grew out of the author's passion to wed her skills as a book editor and her own experiences with breast cancer. She was previously senior editor, director of design and style books with Harry N. Abrams, Inc., Publishers, and lives in New York City.<p></p>

<p>"I am not my breast, and I am not cancer; they are only pieces of who I am. What is my heart like, am I kind, strong, loving, compassionate. . . . Those are the things that count." <br><br>I Am Not My Breast Cancer gathers the warm, loving, frank, and informed voices of more than 800 women-from every state in the nation and from continents as far away as Australia and Africa-who reveal their fears, trade advice, share experiences, and express their deepest, most intimate concerns. Nothing before this groundbreaking book has captured the real experience of breast cancer. It is essential reading for any woman with this diagnosis. <br><br>I Am Not My Breast Cancer offers women the companionship of other women dealing with this disease. Ruth Peltason, who has twice undergone treatment for breast cancer, has woven their stories together while maintaining the authenticity of their voices. These are ordinary women dealing with this cancer and its many ramifications. They range in age from their early twenties to their late seventies. They are the collective face of breast cancer today. Their comments are moving, sometimes funny, always honest. They speak out on every topic, from lovemaking and intimacy to losing their hair, from juggling the day-to-day realities of being a patient, mother, wife, and coworker to the overwhelming worries about their own mortality. Remarkably, they emerge with grace and optimism and a determination not to be defined by disease. <br><br>Taking the reader chronologically through the stages of diagnosis, treatment, recovery, and self-discovery, I Am Not My Breast Cancer offers women a deeper understanding of themselves and living with cancer. As Peltason writes inher introduction, "My greatest wish for this book is that it offer comfort to any woman living with breast cancer and to those who care about her. If this book is kept on the bedside table, then I hope its need is brief and its impact lasting. I Am Not My Breast Cancer speaks of courage, heroism in deeds small and large, and incredible faith and fortitude." <br><br>"You can live without a breast. You cannot say the same for the human heart."</p><h3>Publishers Weekly</h3><p><P>Peltason, an editor and breast cancer survivor, founded and hosted the "First Person Plural" Web site project, an online forum for women facing the disease. Their dialogue provides the content for this book, culled from the entries of 800 women across the U.S. and around the world. Peltason organizes the material into three general parts: "Diagnosis," "Living with Breast Cancer" and "The Big Picture," with such subtopics as "Sharing the News," "Being Womanly" and "Anniversaries and Milestones." Participants use screen names for privacy, approaching their disease with candor and freely discussing their feelings about their bodies and their relationships. At times, those overcome by anger and fear far outweigh those with a bright outlook, but when these survivors "look in the mirror" at the conclusion of the text, many envision a hopeful future. Perhaps the most poignant entries are from younger women, some of whom have been driven into early menopause and infertility by chemotherapy. Although this is an informative book, some survivors may discover that these raw entries churn up disturbing emotions; others will find comfort in these voices, and in the knowledge that they aren't alone-either in their sorrow or in their strength and courage. <I>(Feb.)</I></P>Copyright 2007 Reed Business Information</p>

Foreword&nbsp;&nbsp;&nbsp;Peter I. Pressman, M.D., F.A.S.C.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xi<br>Introduction&nbsp;&nbsp;&nbsp;Ruth Peltason&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xiii<br>Diagnosis<br>Sharing the News&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3<br>Crowning Glory: Hair Today, Gone Tomorrow&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;28<br>Feelings: A Kitchen Sink of Emotion&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;44<br>Fear&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;80<br>Work&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;90<br>Living with Breast Cancer<br>Being Womanly&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;109<br>Love Relationships and Sexual Intimacy&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;147<br>Basic Relationships, A to Z&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;197<br>Mothers and Daughters&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;222<br>Children&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;237<br>The Big Picture<br>Anniversaries and Milestones&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;271<br>Mortality&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;280<br>When You Look in the Mirror, What Do You See?&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;302<br>Faith, Religion, and Spirituality&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;340<br>Gathering Rosebuds&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;351<br>Afterword&nbsp;&nbsp;&nbsp;Marc N. Weiss&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;365<br>List of Breast Cancer Organizations&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;371<br>Acknowledgments&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;373

<p><b>JAMES S. LEONARD</b> received his Ph.D. from Brown University, and is Professor of English (and former English Department chair) at The Citadel. He is the editor of <i>Making Mark Twain Work in the Classroom</i> (Duke University Press, 1999), coeditor of <i>Authority and Textuality: Current Views of Collaborative Writing</i> (Locust Hill Press, 1994) and <i>Satire or Evasion? Black Perspectives on Huckleberry Finn</i> (Duke University Press, 1992), and coauthor of <i>The Fluent Mundo: Wallace Stevens and the Structure of Reality</i></p> <p>(University of Georgia Press, 1988). He has served as president of the Mark Twain Circle</p> <p>of America (2010–2012), managing editor of <i>The Mark Twain Annual</i> (since 2004), and editor of the <i>Mark Twain Circular</i> (1987–2008), and is a major contributor to <i>The Greenwood Encyclopedia of Poets and Poetry</i> (Greenwood Press, 2006) and <i>American History Through Literature</i> (Charles Scribner’s Sons, 2005).</p> <p><b>SHELLEY FISHER FISHKIN</b> is Professor of English and Director of American Studies at Stanford University. She is the author, editor, or coeditor of over forty books, including the award-winning <i>Was Huck Black? Mark Twain and African American Voices</i> (1993), <i>From Fact to Fiction: Journalism and Imaginative Writing in America</i> (1988), and <i>Feminist Engagements: Forays into American Literature and Culture</i> (2009), as well as <i>Lighting Out for the Territory</i> (1997), <i>The Oxford Mark Twain</i> (1996), <i>The Historical</i></p> <p><i>Guide to Mark Twain</i> (2002), <i>Mark Twain‘s Book of Animals</i> (2009), <i>The Mark Twain Anthology:Great Writers on his Life and Work</i> (2010), <i>Is He Dead? A Comedy in Three Acts by Mark Twain</i> (2003), <i>People of the Book: Thirty Scholars Reflect on Their Jewish Identity</i> (with Jeffrey Rubin-Dorsky) (1996), <i>Listening to Silences: New Essays in Feminist Criticism</i> (with Elaine Hedges)(1994), and <i>Sport of the Gods and Other Essential Writings by Paul Laurence Dunbar</i> (with David Bradley) (2005). She has also published more than eighty articles, essays, or reviews in publications including <i>American Quarterly, American Literature, Journal of American History, American Literary History,</i> and the <i>New York Times Book Review,</i> and has lectured on American literature in Belgium, Canada, Chile, China, France, Ireland, Israel, Italy, Japan, Korea,</p> <p>Mexico, the Netherlands, Portugal, Russia, Taiwan, Turkey, the United Kingdom,</p> <p>and throughout the United States. A member of the first class of women to graduate from Yale College, she stayed on at Yale to earn her M.A. in English and her Ph.D. in American Studies. Before her arrival at Stanford, she directed the Poynter Fellowship</p> <p>in Journalism at Yale and taught American Studies and English at the University</p> <p>of Texas at Austin, where she chaired the American Studies Department. She co-founded the Charlotte Perkins Gilman Society and is a past president of the Mark Twain Circle of America and the American Studies Association.</p> <p><b>DAVID BRADLEY</b> earned a BA in Creative Writing at the University of Pennsylvania in 1972 and a MA in United States Studies at the University of London in 1974. A Professor of English at Temple University from 1976 to 1997, Bradley has been a visiting professor at the San Diego State University, the University of California—San Diego, the Massachusetts Institute of Technology, Colgate University, the College of William &amp;</p> <p>Mary, the City College of the City University of New York and the Michener Center for Writers at the University of Texas, Austin. He is currently an Associate Professor of Fiction in the Creative Writing Program at the University of Oregon. Bradley has read and lectured extensively in the United States and also in Japan, Korea, Pakistan, the United Kingdom, South Africa and Australia. He is the author of two novels, <i>South Street</i> (1975) and <i>The Chaneysville Incident</i> (1981) which was awarded the 1982 PEN/Faulkner Award and an Academy Award from the American Academy and Institute of Arts and Letters. His non-fiction has appeared in <i>Esquire</i>, <i>Redbook</i>, <i>The New York Times</i>, <i>The Los Angeles Times</i> and <i>The New Yorker.</i> A recipient of fellowships from the John Simon</p> <p>Guggenheim Foundation and the National Endowment for the Arts His most recent publication is semi-scholarly: <i>The Essential Writings of Paul Laurence Dunbar</i>, which he co-edited with Shelley Fisher Fishkin. His current works in progress include a creative non-fiction book, <i>The Bondage Hypothesis: Meditations on Race, History and America,</i> a novel-in-stories, <i>Raystown,</i> and an essay collection: <i>Lunch Bucket Pieces: New and Selected Creative Nonfiction</i></p> <p><b>DANA D. NELSON</b> received her Ph.D. from Michigan State, and she is the Gertrude Conaway Vanderbilt Professor of English and American Studies at Vanderbilt University. She is the author of <i>The Word in Black and White: Reading “Race” in American Literature, 1638–1867</i> (1992), <i>National Manhood: Capitalist Citizenship and the Imagined Fraternity of White Men</i> (1998), and <i>Bad for Democracy: How the Presidency Undermines the Power of the People</i> (2008) as well as editor of several reprint editions of nineteenth-century American female writers (including Rebecca Rush, Lydia Maria Child, Fanny Kemble, and Frances Butler Leigh). Her teaching interests include comparative American colonial literatures, developing democracy in the eighteenth and nineteenth centuries, ethnic and minority literatures, women’s literature, and frontier representations in literature. She has served or is serving on numerous editorial boards, including <i>American Literature, Early American Literature, American Literary History, Arizona Quarterly,</i> and <i>American Quarterly.</i> She is an active member of the Modern Language Association and the American Studies Association. She is currently working on a book that studies developing practices and representations of democracy in the late British colonies and the early United States.</p> <p><b>JOSEPH CSICSILA</b> is Professor of English Language and Literature at Eastern Michigan University and a specialist in nineteenth- and early twentieth-century American literature and culture. He is the author and/or editor of five books including <i>Canons by Consensus:</i></p> <p><i>Critical Trends and American Literature Anthologies</i> (2004), which is the first systematic study of American literature textbooks used by college instructors in the past century, <i>Centenary Reflections on Mark Twain’s No. 44</i>, <i>The Mysterious Stranger</i> (2009), and <i>Heretical Fictions: Religion in the Literature of Mark Twain</i> (2010). He has also published numerous articles on such authors as Mary Wilkins Freeman, Sarah Orne Jewett, and William Faulkner. Csicsila has served as the editor of <i>Journal of Narrative Theory</i> and is currently book review editor for <i>The Mark Twain Annual</i>.</p>

<p>Pick a Penguin Program*</p> <p>We offer select Penguin Putnam titles at a substantial discount to your students when you request a special package of one or more Penguin titles with this text. Among the many American Literature titles available from Penguin Putnam are:</p> <p>· Stephen Crane, <i>The Red Badge of Courage</i></p> <p>· Frederick Douglass, <i>Narrative of Frederick Douglass</i></p> <p>· Nathaniel Hawthorne, <i>The Scarlet Letter</i></p> <p>· James Fennimore Cooper, <i>The Last of the Mohicans</i></p> <p>· Washington Irving<i>,The Legend of Sleepy Hollow and Other Stories</i></p>

<p>Preface For more than three decades, students and instructors have relied on the McMichael-Leonard Anthology of American Literature as a reliable source of literary texts, annotations, and contextual information. The McMichael-Leonard anthology has secured its reputation with a solid core of writers and works and has enhanced that reputation with quality ancillaries, including the Pick-a-Penguin Program, American Literature Database, and text-specific MyLiteratureKitTM. Because it allows such flexibility in meeting individual course needs, Anthology of American Literature is a complete American Literature resource. In preparing this tenth edition, the editors have continued to follow the principles of selection that have made the previous editions so successful: selected works primarily for their literary significance. represented authors by offering extensive samplings of their works. included, where possible, long works in their entirety. provided clear, concise, and informative introductions and headnotes that are appropriate for student readers. explained unfamiliar terms and allusions through in-text references and footnotes. presented author bibliographies that are selective and current. Authors and works in the anthology follow a generally chronological order. In deciding on a standard text from among the various editions available for selections, we have chosen, whenever possible, that edition most respected by modern scholars. The text reprinted is identified at the end of the headnote for each author. Spelling and punctuation are, in some instances, regularized and modernized to correct obvious errors and to suit the reader¿s convenience. An editorial excision of less than one paragraph is indicated by an ellipsis (. . .); excisions of a paragraph or more are indicated by a centered ellipsis: . . . New to the Tenth Edition Building on the anthology¿s solid foundation, we were in this edition able to make important enhancements to content and format: We have updated and revised period introductions and headnotes. We have included new headnotes and selections for the following authors: Ebenezer Cooke, Sarah Kemble Knight, Royall Tyler, Augustus Baldwin Longstreet, and E. D. E. N. Southworth. We have added new works or expanded existing ones by Roger Williams, Edward Taylor, Cotton Mather, Samuel Sewall, Benjamin Franklin, Thomas Jefferson, William Apess, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Henry Wadsworth Longfellow, Frances E. W. Harper, and Walt Whitman. We have added new ¿Reading the Historical Context¿ selections by ¿lvar N¿¿ez Cabeza De Vaca, Benjamin Banneker, Thomas Jefferson, and Stephen A. Douglas. We have supplemented the ¿Reading the Critical Context¿ section already included for The Literature of the Early- to Mid-Nineteenth Century by creating equivalent sections for both The Literature of Early America and The Literature of the Eighteenth Century. We have added new ¿Critical Context¿ selections by John Dryden, Alexander Pope, and Benjamin Franklin. We have restored the 1881 version of Walt Whitman¿s Song of Myself, as the version most suitable for classroom use. We have continued the anthology¿s revamping of the treatment of Native American authors, moving away from the ¿myths and legends¿ motif and toward an emphasis on specifically identifiable speakers and authors firmly anchored in the historical context¿including the addition of works by William Apess and Tecumseh. In addition, we have restored Din¿ahane': The Navajo Creation Story to The Literature of Early America. We have for the first time included visual images related to specific literary works and to the general historical and literary contexts of the various periods. Anthology of American Literature also offers design features that make it more accessible to students. The typeface for the headnotes and the literary selections is easy to read. Updated chronological charts offer students at-a-glance information about authors¿ lives and works, as well as key historical, political, technological, and cultural contexts. A Complete American Literature Resource How does the McMichael-Leonard Anthology of American Literature offer more of what students and instructors want for their American Literature courses? Pick-a-Penguin Program Pearson is proud to announce an agreement with Penguin Putnam that allows us to package¿at substantial discounts¿the most popular American Literature trade paperbacks with the McMichael-Leonard Anthology of American Literature. Ask your Pearson sales representative for details and for a listing of available American Literature titles. American Literature Database Now instructors can customize course material with the Pearson Custom Library of American Literature. A database featuring more than 1,700 literary works, the Pearson Custom Library of American Literature gives instructors the flexibility to choose other selections they might want to use along with the McMichael-Leonard anthology. For details, visit &lt; http://www.pearsoncustom.com/custom-library/the-pearson-custom-library-of-american-literature &gt;, or contact your Pearson sales representative. American Literature Online MyLiteratureKit is a dynamic online learning system that enhances American Literature Survey courses.¿ It offers a wealth of resources such as practice quizzes with grade tracker and open-ended discussion questions, a gradebook that tracks results, interactive timelines, maps, an online library of key works, visually-rich PowerPoints with outlines of each period accompanied by maps and images, an instructor's manual written by our anthology editors, and more.¿¿MyLiteratureKit offers everything you need to save time and to engage students.¿Please visit www.myliteraturekit.com for more information. Acknowledgments We would like to thank the countless instructors and students, as well as the editorial and production teams, who have contributed their time and ideas to Anthology of American Literature. For the tenth edition, our thanks are particularly extended to research assistants James Wharton Leonard (Wake Forest University) and Roger Howard (The Citadel), and to Christine E. Wharton, David Allen, James Hutchisson, Licia Calloway, and Lauren Rule of The Citadel. We would like to thank the following reviewers for their invaluable feedback: Dr. Betsy Berry University of Texas at Austin; Jesse R. Bishop, Georgia Highlands College; Allan Chavkin, Texas State University at San Marcos; Dr. Lesley Ginsberg, University of Colorado at Colorado Springs; Dr. Heidi M. Hanrahan, Shepherd University; Beverly A. Hume, Indiana University-Purdue University; Lea Masiello, Indiana University of Pennsylvania; Garry Partridge, San Antonio College; Steven Reynolds, College of the Siskiyous; Dr. Sarah Stephens, University of Texas at Arlington; John C. Sutton, Francis Marion University. We would also like to express our gratitude to the Pearson publishing team: Vivian Garcia, Heather Vomero, Joseph Terry, Denise Philip, Cheryl Besenjak, Carrie Fox, and Ann Bailey. THE EDITORS</p>

<p><P>This two-volume anthology represents America&#39;s literary heritage from colonial times through the American renaissance to the contemporary era of post-modernism. Volume I offers early contextual selections from Christopher Columbus and Gaspar Perez de Villagra, as well as an excerpt from the Iroquois League&rsquo;s Constitution of the Five Nations, and ends with an extensive selection of the poetry of Emily Dickinson. This anthology is best known for its useful pedagogy, including extensive and straightforward headnotes and introductions, as well as its balanced approach to editorial selection process.</p>

<P>Preface xxiii<p>About the Editors xxvi<p>The Literature of Early America 1<p>Reading the Historical Context 14<p>CHRISTOPHER COLUMBUS (1451&mdash;1506) 14<p>Columbus&rsquo;s Letter Describing His First Voyage 15<p>THOMAS HARIOT (1560&mdash;1621) 19<p>FROM A Brief and True Report of the Newfound Land of Virginia 19<p>&Aacute;LVAR N&Uacute;&Ntilde;EZ CABEZA DE VACA (C. 1490&mdash;C. 1557) 24<p>FROM The Journey of &Aacute;lvar N&uacute;&ntilde;ez Cabeza de Vaca 25<p>JOHN WINTHROP (1588&mdash;1649) AND ANNE HUTCHINSON (1591&mdash;1643) 29<p>FROM The Examination of Mrs. Anne Hutchinson at the<p>Court at Newton 29<p>IROQUOIS LEAGUE 33<p>FROM The Constitution of the Five Nations 33<p>Reading the Critical Context 36<p>JOHN DRYDEN (1631&mdash;1700) 36<p>FROM Preface to Troilus and Cressida 37<p>ALEXANDER POPE (1688&mdash;1744) 38<p>FROM An Essay on Criticism 39<p>Literature of Early America 41<p>CAPTAIN JOHN SMITH (1580&mdash;1631) 41<p>FROM The General History of Virginia 43<p>The Third Book 43<p>Powhatan&rsquo;s Discourse of Peace and War 54<p>FROM A Description of New England 55<p>DIN&Eacute; BAHANE&rsquo; 64<p>FROM Din&eacute; bahane&rsquo;&#58; The Navajo Creation Story 65<p>WILLIAM BRADFORD (1590&mdash;1657) 80<p>FROM History of Plymouth Plantation 81<p>FROM Chapter 1 81<p>FROM Chapter 3 83<p>FROM Chapter 4 84<p>FROM Chapter 7 86<p>FROM Chapter 9 87<p>FROM Chapter 10 90<p>FROM Book 2 92<p>FROM Chapter 36 103<p>THOMAS MORTON (C. 1579&mdash;1647) 104<p>FROM The New English Canaan 105<p>JOHN WINTHROP (1588&mdash;1649) 114<p>FROM The Journal of John Winthrop 115<p>A Model of Christian Charity 125<p>ROGER WILLIAMS (C. 1603&mdash;1683) 136<p>FROM A Key into the Language of America 137<p>FROM The Bloody Tenet of Persecution for the Cause of Conscience 142<p>To the Town of Providence 144<p>THE NEW ENGLANDPRIMER (C. 1683) 145<p>FROM The New England Primer 146<p>ANNE BRADSTREET (C. 1612&mdash;1672) 152<p>The Prologue 154<p>Contemplations 156<p>The Flesh and the Spirit 162<p>The Author to Her Book 165<p>Before the Birth of One of Her Children 165<p>To My Dear and Loving Husband 166<p>A Letter to Her Husband Absent Upon Public Employment 166<p>In Reference to Her Children, 23 June, 1659 167<p>In Memory of My Dear Grandchild Elizabeth Bradstreet 170<p>On My Dear Grandchild Simon Bradstreet 170<p>[On Deliverance] from Another Sore Fit 171<p>Upon the Burning of Our House, July 10th, 1666 171<p>As Weary Pilgrim 173<p>FROM Meditations Divine and Moral 174<p>MICHAEL WIGGLESWORTH (1631&mdash;1705) 177<p>FROM The Day of Doom 178<p>EDWARD TAYLOR (C. 1642&mdash;1729) 184<p>Prologue 185<p>FROM Preparatory Meditations 186<p>The Reflexion 186<p>Meditation 6 (First Series) 187<p>Meditation 8 (First Series) 188<p>Meditation 38 (First Series) 189<p>Meditation 39 (First Series) 191<p>Meditation 150 (Second Series) 192<p>FROM God&rsquo;s Determinations 193<p>The Preface 193<p>The Joy of Church Fellowship Rightly Attended 194<p>Upon a Spider Catching a Fly 195<p>Upon Wedlock and Death of Children 197<p>Huswifery 198<p>The Ebb and Flow 198<p>A Fig for Thee Oh! Death 199<p>COTTON MATHER (1663&mdash;1728) 200<p>FROM The Wonders of the Invisible World 202<p>The Trial of Bridget Bishop 204<p>The Trial of Martha Carrier 208<p>A Third Curiosity 211<p>FROM Magnalia Christi Americana 211<p>A General Introduction 211<p>Galeacius Secundus 212<p>Thaumatographia Pneumatica 218<p>SAMUEL SEWALL (1652&mdash;1730) 220<p>The Selling of Joseph 221<p>FROM The Diary of Samuel Sewall 225<p>MARY ROWLANDSON (C. 1637&mdash;1711) 235<p>FROM A Narrative of the Captivity and Restoration 235<p>EBENEZER COOKE (C. 1665&mdash;C. 1732) 252<p>The Sot-Weed Factor 253<p>SARAH KEMBLE KNIGHT (1666&mdash;1727) 270<p>The Journal of Madam Knight 271<p>WILLIAM BYRD II (1674&mdash;1744) 281<p>FROM The Secret Diary of William Byrd of Westover, 1709&mdash;1712 282<p>FROM The History of the Dividing Line 286<p>JOHN WOOLMAN (1720&mdash;1772) 292<p>FROM The Journal of John Woolman 293<p>JONATHAN EDWARDS (1703&mdash;1758) 301<p>Sarah Pierrepont 303<p>Personal Narrative 304<p>FROM A Divine and Supernatural Light 314<p>Sinners in the Hands of an Angry God 319<p>The Literature of the Eighteenth Century 331<p>Reading the Historical Context 341<p>CORRESPONDENCE 341<p>Thomas Jefferson to James Madison 342<p>Thomas Jefferson to John Adams 345<p>Abigail Adams to John Adams 348<p>John Adams to Abigail Adams 349<p>Benjamin Banneker to Thomas Jefferson 351<p>Thomas Jefferson to Benjamin Banneker 354<p>THE FEDERALIST/ANTI-FEDERALIST CONTROVERSY 354<p>The Federalist No. 1 (Alexander Hamilton) 356<p>The Federalist No. 2 (John Jay) 359<p>The Federalist No. 10 (James Madison) 362<p>The Federalist No. 51 (James Madison) 367<p>Reading the Critical Context 370<p>BENJAMIN FRANKLIN (1706&mdash;1790) 370<p>Silence Dogood, No. 7 371<p>Literature of the Eighteenth Century 375<p>BENJAMIN FRANKLIN (1706&mdash;1790) 375<p>FROM The Autobiography 377<p>Silence Dogood, No. 2 424<p>Benjamin Franklin&rsquo;s Epitaph 425<p>The Witches of Mount Holly 426<p>FROM Poor Richard&rsquo;s Almanac, 1733 427<p>FROM Poor Richard&rsquo;s Almanac, 1746 430<p>The Speech of Miss Polly Baker 432<p>Observations Concerning the Increase of Mankind 434<p>Information to Those Who Would Remove to America 439<p>Speech in the Convention 445<p>An Address to the Public 446<p>SAMSON OCCOM (1723&mdash;1792) 447<p>FROM A Short Narrative of My Life 448<p>The Slow Traveller 453<p>A Morning Hymn 453<p>A Son&rsquo;s Farewell 454<p>Conversion Song 454<p>Come All My Young Companions, Come 455<p>MICHEL-GUILLAUME-JEAN DE CR&Egrave;VECOEUR (1735&mdash;1813) 456<p>FROM Letters from an American Farmer 458<p>Letter III What Is an American? 458<p>Letter IX Description of Charleston 467<p>Letter XII Distresses of a Frontier Man 471<p>OLAUDAH EQUIANO (1745&mdash;1797) 480<p>FROM The Life of Olaudah Equiano 482<p>THOMAS PAINE (1737&mdash;1809) 498<p>FROM Common Sense 500<p>FROM The American Crisis 502<p>FROM The Age of Reason 508<p>THOMAS JEFFERSON (1743&mdash;1826) 515<p>The Declaration of Independence 518<p>FROM Notes on the State of Virginia 521<p>FROM Query V&#58; Cascades 521<p>FROM Query VI&#58; Productions Mineral, Vegetable and Animal 522<p>Query XIV&#58; Laws 528<p>FROM Query XVII&#58; Religion 541<p>FROM Query XVIII&#58; Manners 543<p>FROM Query XIX&#58; Manufactures 545<p>FROM The Autobiography of Thomas Jefferson 545<p>ROYALL TYLER(1757&mdash;1826) 560<p>The Contrast 562<p>PHILLIS WHEATLEY (1754?&mdash;1784) 603<p>On Virtue 604<p>To the University of Cambridge, in New England 604<p>On Being Brought from Africa to America 605<p>On the Death of the Rev. Mr. George Whitefield. 1770. 606<p>On Imagination 607<p>To S. M. A Young African Painter, On Seeing His Works 608<p>To His Excellency General Washington 609<p>PHILIP FRENEAU (1752&mdash;1832) 611<p>The Power of Fancy 612<p>The Hurricane 616<p>To Sir Toby 617<p>The Wild Honey Suckle 619<p>The Indian Burying Ground 620<p>On Mr. Paine&rsquo;s Rights of Man 621<p>On a Honey Bee 622<p>On the Universality and Other Attributes of the God of Nature 623<p>On the Religion of Nature 624<p>WILLIAM BARTRAM (1739&mdash;1823) 625<p>FROM Travels through North and South Carolina 626<p>JUDITH SARGENT MURRAY (1751&mdash;1820) 641<p>On the Equality of the Sexes 642<p>SUSANNA HASWELL ROWSON (1762&mdash;1824) 649<p>Slaves in Algiers 650<p>RED JACKET (C. 1750&mdash;1830) 683<p>The Indians Must Worship the Great Spirit in Their Own Way 684<p>The Literature of the Early- to Mid-Nineteenth Century 686<p>Reading the Historical Context 701<p>TECUMSEH (1768&mdash;1813) 701<p>Speech to the Osage Indians 701<p>WILLIAM LLOYD GARRISON (1805&mdash;1879) 703<p>On the Constitution and the Union 703<p>STEPHEN A. DOUGLAS (1813&mdash;1861) 705<p>FROM Third Joint Debate, at Jonesboro 705<p>WOMEN&rsquo;S RIGHTS CONVENTION, SENECA FALLS, NEW YORK (JULY 1848) 713<p>Declaration of Sentiments 713<p>Reading the Critical Context 715<p>EDGAR ALLAN POE (1809&mdash;1849) 715<p>FROM &ldquo;Twice-Told Tales, by Nathaniel Hawthorne&rdquo; [A Review] 716<p>The Philosophy of Composition 719<p>FROM The Poetic Principle 728<p>HERMAN MELVILLE (1819&mdash;1891) 733<p>FROM Hawthorne and His Mosses 733<p>Literature of the Early- to Mid-Nineteenth Century 739<p>WASHINGTONIRVING(1783&mdash;1859) 739<p>FROM The Sketch-Book of Geoffrey Crayon, Gent. 741<p>The Author&rsquo;s Account of Himself 741<p>Rip Van Winkle 743<p>The Legend of Sleepy Hollow 756<p>Traits of Indian Character 777<p>BLACK HAWK (1767&mdash;1838) 784<p>FROM Black Hawk&rsquo;s Autobiography 784<p>WILLIAM APESS (1798&mdash;1839) 789<p>FROM A Son of the Forest 789<p>Eulogy on King Philip 796<p>ELIAS BOUDINOT (C.1802&mdash;1839) 801<p>An Address to the Whites 801<p>FROM The Cherokee Phoenix 811<p>PENINA MO&Iuml;SE (1797&mdash;1880) 816<p>To Persecuted Foreigners 817<p>The Mirror and the Echo 818<p>To a Lottery Ticket 818<p>AUGUSTUS BALDWINLONGSTREET (1790&mdash;1870) 819<p>The Fight 820<p>JAMES FENIMORE COOPER (1789&mdash;1851) 827<p>Preface to The Leather-Stocking Tales 829<p>FROM The Pioneers 832<p>FROM The Deerslayer 839<p>THOMAS BANGS THORPE (1815&mdash;1878) 856<p>The Big Bear of Arkansas 857<p>WILLIAM CULLEN BRYANT (1794&mdash;1878) 865<p>Thanatopsis 867<p>The Yellow Violet 869<p>To a Waterfowl 870<p>To Cole, the Painter, Departing for Europe 871<p>To the Fringed Gentian 871<p>The Prairies 872<p>Abraham Lincoln 875<p>SOJOURNER TRUTH (1797?&mdash;1883) 875<p>Speech to the Women&rsquo;s Rights Convention, Akron, Ohio 877<p>FROM Narrative of Sojourner Truth 878<p>EDGAR ALLAN POE (1809&mdash;1849) 880<p>Sonnet&ndash;To Science 883<p>To Helen 883<p>The City in the Sea 884<p>Sonnet&ndash;Silence 885<p>Lenore 886<p>The Raven 887<p>Annabel Lee 890<p>The Fall of the House of Usher 891<p>The Black Cat 904<p>Ligeia 911<p>The Tell-Tale Heart 922<p>The Purloined Letter 925<p>RALPH WALDO EMERSON (1803&mdash;1882) 938<p>Nature 940<p>The American Scholar 969<p>The Divinity School Address 982<p>Self-Reliance 994<p>The Poet 1011<p>The Rhodora 1026<p>Each and All 1026<p>Concord Hymn 1027<p>The Problem 1028<p>Ode 1030<p>Hamatreya 1033<p>Give All to Love 1034<p>Days 1036<p>Brahma 1036<p>Terminus 1037<p>NATHANIEL PARKER WILLIS (1806&mdash;1867) 1038<p>January 1, 1828 1039<p>January 1, 1829 1039<p>Lady in the White Dress, I Helped into the Omnibus 1040<p>MARIA STEWART (1803&mdash;1879) 1041<p>An Address Delivered Before The Afric-American Female<p>Intelligence Society of Boston 1042<p>GEORGE MOSES HORTON (1797&mdash;1883) 1046<p>On Liberty and Slavery 1047<p>The Lover&rsquo;s Farewell 1048<p>On Hearing of the Intention of a Gentleman<p>to Purchase the Poet&rsquo;s Freedom 1049<p>The Creditor to His Proud Debtor 1050<p>Division of an Estate 1051<p>Death of an Old Carriage Horse 1052<p>George Moses Horton, Myself 1053<p>MARGARET FULLER (1810&mdash;1850) 1054<p>FROM Woman in the Nineteenth Century 1056<p>NATHANIEL HAWTHORNE (1804&mdash;1864) 1067<p>Young Goodman Brown 1069<p>The Birth-Mark 1079<p>Rappaccini&rsquo;s Daughter 1090<p>My Kinsman, Major Molineux 1110<p>The Maypole of Merry Mount 1124<p>The Minister&rsquo;s Black Veil 1131<p>The Artist of the Beautiful 1141<p>Ethan Brand 1157<p>The Custom-House&#58; Introductory to The Scarlet Letter 1167<p>The Scarlet Letter 1193<p>HERMAN MELVILLE (1819&mdash;1891) 1310<p>FROM Moby-Dick 1312<p>The Pulpit 1312<p>The Sermon 1314<p>The Mast-Head 1320<p>The Whiteness of the Whale 1324<p>Bartleby, the Scrivener 1329<p>Benito Cereno 1355<p>Billy Budd 1413<p>The Portent 1471<p>Shiloh 1472<p>Malvern Hill 1472<p>A Utilitarian View of the Monitor&rsquo;s Fight 1473<p>The House-Top 1474<p>The Swamp Angel 1475<p>The College Colonel 1477<p>The &AElig;olian Harp 1478<p>The Tuft of Kelp 1479<p>The Maldive Shark 1479<p>The Berg 1480<p>Art 1481<p>Greek Architecture 1481<p>LYDIA HOWARD HUNTLEY SIGOURNEY (1791&mdash;1865) 1481<p>Death of an Infant 1482<p>The Indian&rsquo;s Welcome to the Pilgrim Fathers 1483<p>Indian Names 1484<p>LYDIA MARIA CHILD (1802&mdash;1880) 1485<p>Charity Bowery 1485<p>The Black Saxons 1490<p>Slavery&rsquo;s Pleasant Homes 1497<p>The New England Boy&rsquo;s Song about Thanksgiving Day 1501<p>JOSIAH HENSON (1789&mdash;1883) 1503<p>FROM The Life of Josiah Henson 1504<p>FREDERICK DOUGLASS (1818&mdash;1895) 1516<p>Narrative of the Life of Frederick Douglass 1517<p>Letter to His Old Master 1577<p>What to the Slave is the Fourth of July? 1582<p>West India Emancipation 1585<p>HENRY DAVID THOREAU (1817&mdash;1862) 1594<p>Civil Disobedience 1596<p>Walden 1612<p>They Who Prepare my Evening Meal Below 1793<p>On Fields O&rsquo;er Which the Reaper&rsquo;s Hand Has Passed 1793<p>Smoke 1793<p>Conscience 1794<p>My Life Has Been the Poem 1795<p>WILLIAM GILMORE SIMMS (1806&mdash;1870) 1795<p>Grayling; or &ldquo;Murder Will Out&rdquo; 1796<p>HENRY WADSWORTH LONGFELLOW (1807&mdash;1882) 1819<p>A Psalm of Life 1820<p>The Arsenal at Springfield 1821<p>The Jewish Cemetery at Newport 1823<p>My Lost Youth 1825<p>Aftermath 1827<p>The Tide Rises, the Tide Falls 1827<p>FROM The Song of Hiawatha 1828<p>JOHN GREENLEAF WHITTIER (1807&mdash;1892) 1833<p>The Hunters of Men 1834<p>The Farewell 1836<p>Massachusetts to Virginia 1837<p>Toussaint l&rsquo;Ouverture 1840<p>Song of Slaves in the Desert 1846<p>Barbara Frietchie 1848<p>E. D. E. N. SOUTHWORTH (1819&mdash;1899) 1850<p>The Thunderbolt to the Hearth 1852<p>JAMES RUSSELL LOWELL (1819&mdash;1891) 1865<p>To the Dandelion 1865<p>FROM The Biglow Papers, First Series 1867<p>FROM A Fable for Critics 1872<p>HARRIET BEECHER STOWE (1811&mdash;1896) 1881<p>FROM Uncle Tom&rsquo;s Cabin 1883<p>FANNY FERN (1811&mdash;1872) 1901<p>Aunt Hetty on Matrimony 1903<p>Hints to Young Wives 1904<p>Owls Kill Humming-Birds 1905<p>The Tear of a Wife 1906<p>Mrs. Adolphus Smith Sporting the &ldquo;Blue Stocking&rdquo; 1907<p>Fresh Fern Leaves&#58; Leaves of Grass 1907<p>Blackwell&rsquo;s Island 1910<p>Blackwell&rsquo;s Island No. 3 1912<p>Independence 1914<p>The Working-Girls of New York 1914<p>WILLIAM WELLS BROWN (1814&mdash;1884) 1916<p>The Escape 1916<p>HARRIET ANN JACOBS (1813&mdash;1897) 1952<p>FROM Incidents in the Life of a Slave Girl 1953<p>JAMES M. WHITFIELD (1822&mdash;1871) 1980<p>America 1981<p>Self-Reliance 1985<p>ABRAHAM LINCOLN (1809&mdash;1865) 1987<p>To Horace Greeley 1988<p>Gettysburg Address 1989<p>Second Inaugural Address 1990<p>FRANCES E. W. HARPER (1825&mdash;1911) 1991<p>Bury Me in a Free Land 1992<p>To the Union Savers of Cleveland 1993<p>Eliza Harris 1994<p>The Slave Mother 1996<p>Learning to Read 1997<p>Aunt Chloe&rsquo;s Politics 1998<p>LOUISA MAY ALCOTT (1832&mdash;1888) 1999<p>FROM Little Women 2002<p>FROM Hospital Sketches 2034<p>A Day 2034<p>A Night 2042<p>EMMA LAZARUS (1849&mdash;1887) 2052<p>In the Jewish Synagogue at Newport 2053<p>The New Colossus 2054<p>1492 2055<p>WALT WHITMAN (1819&mdash;1892) 2055<p>Preface to the 1855 Edition of Leaves of Grass 2057<p>Song of Myself 2072<p>FROM Inscriptions 2119<p>To You 2119<p>One&rsquo;s-Self I Sing 2119<p>When I Read the book 2119<p>I Hear America Singing 2119<p>Poets to Come 2120<p>FROM Children of Adam 2120<p>From Pent-up Aching Rivers 2120<p>Out of the Rolling Ocean the Crowd 2122<p>As Adam, Early in the Morning 2122<p>Once I Pass&rsquo;d Through a Populous City 2122<p>FROM Calamus 2123<p>What Think You I Take My Pen in Hand? 2123<p>I Saw in Louisiana a Live-Oak Growing 2123<p>I Hear It Was Charged Against Me 2124<p>Crossing Brooklyn Ferry 2124<p>FROM Sea-Drift 2129<p>Out of the Cradle Endlessly Rocking 2129<p>FROM By the Roadside 2133<p>When I Heard the Learn&rsquo;d Astronomer 2133<p>The Dalliance of the Eagles 2134<p>FROM Drum-Taps 2134<p>Beat! Beat! Drums! 2134<p>Cavalry Crossing a Ford 2135<p>Bivouac on a Mountain Side 2135<p>Vigil Strange I Kept on the Field One Night 2135<p>A Sight in Camp in the Daybreak Gray and Dim 2136<p>The Wound-Dresser 2137<p>As I Lay with My Head in Your Lap Camerado 2139<p>FROM Memories of President Lincoln 2139<p>When Lilacs Last in the Dooryard Bloom&rsquo;d 2139<p>FROM Autumn Rivulets 2146<p>There was a Child Went Forth 2146<p>Sparkles from the Wheel 2147<p>Passage to India 2148<p>FROM Whispers of Heavenly Death 2156<p>A Noiseless Patient Spider 2156<p>FROM From Noon to Starry Night 2156<p>To a Locomotive in Winter 2156<p>FROM Democratic Vistas 2157<p>EMILY DICKINSON (1830&mdash;1886) 2177<p>49 I never lost as much but twice 2179<p>67 Success is counted sweetest 2179<p>165 A Wounded Deer&ndash;leaps highest 2180<p>185 &ldquo;Faith&rdquo; is a fine invention 2180<p>210 The thought beneath so slight a film 2180<p>214 I taste a liquor never brewed 2180<p>216 Safe in their Alabaster Chambers 2181<p>241 I like a look of Agony 2181<p>249 Wild Nights&ndash;Wild Nights! 2182<p>258 There&rsquo;s a certain Slant of light 2182<p>280 I felt a Funeral, in my Brain 2182<p>303 The Soul selects her own Society 2183<p>324 Some keep the Sabbath going to Church 2183<p>328 A Bird came down the Walk 2184<p>338 I know that He exists 2185<p>341 After great pain, a formal feeling comes 2185<p>401 What Soft&ndash;Cherubic Creatures 2185<p>435 Much Madness is divinest Sense 2186<p>441 This is my letter to the World 2186<p>449 I died for Beauty&ndash;but was scarce 2186<p>465 I heard a Fly buzz&ndash;when I died 2187<p>520 I started Early&ndash;Took my Dog 2187<p>585 I like to see it lap the Miles 2188<p>632 The Brain&ndash;is wider than the sky 2189<p>640 I cannot live with You 2189<p>670 One need not be a Chamber&ndash;to be Haunted 2190<p>709 Publication&ndash;is the Auction 2191<p>712 Because I could not stop for Death 2192<p>764 Presentiment&ndash;is that long Shadow&ndash;on the Lawn 2192<p>976 Death is a Dialogue between 2192<p>986 A narrow Fellow in the Grass 2193<p>1052 I never saw a Moor 2193<p>1078 The Bustle in a House 2194<p>1129 Tell all the truth but tell it slant 2194<p>1207 He preached upon &ldquo;Breadth&rdquo; till it argued him narrow 2194<p>1463 A Route of Evanescence 2195<p>1545 The Bible is an antique Volume 2195<p>1624 Apparently with no surprise 2196<p>1670 In Winter in my Room 2196<p>1732 My life closed twice before its close 2197<p>1755 To make a prairie it takes a clover and one bee 2197<p>1760 Elysium is as far as to 2197<p>Letters to T. W. Higginson 2198<p>Reference Works, Bibliographies 2200<p>Criticism, Literary and Cultural History 2203<p>Acknowledgments 2208<p>Index to Authors, Titles, and First Lines 2209

New York City has always been a larger-than-life, half-mythical place, and this collection offers an appropriately stunning mosaic of its many incarnations in poetry–ranging from Walt Whitman’s exuberant celebrations to contemporary poets’ moving responses to the September 11 attack on the city. <p>All the icons of this greatest of cities swirl and flash through these pages: taxis and subways, bridges and skyscrapers, ghettos and roof gardens and fire escapes, from the South Bronx to Coney Island to Broadway to Central Park, and from Langston Hughes’s Harlem to James Merrill’s Upper East Side. Wallace Stevens, e. e. cummings, W. H. Auden, Dorothy Parker, Elizabeth Bishop, Allen Ginsberg, and Audre Lorde are just a few of the poets gathered here, alongside a host of new young voices.</p> <p>Encompassing as many moods, characters, and scenes as this multifaceted, ever-changing metropolis has to offer, <i>Poems of New York</i> will be treasured by literary lovers of New York everywhere.</p>

If I Should Learn by Edna St. Vincent Millay <p>If I should learn, in some quite casual way,<br> That you were gone, not to return again--<br> Read from the back-page of a paper, say,<br> Held by a neighbor in a subway train,<br> How at the corner of this avenue And such a street (so are the papers filled)<br> A hurrying man--who happened to be you--<br> At noon to-day had happened to be killed,<br> I should not cry aloud--I could not cry Aloud, or wring my hands in such a place--<br> I should but watch the station lights rush by With a more careful interest on my face,<br> Or raise my eyes and read with greater care Where to store furs and how to treat the hair.</p>

<p><P>New York City has always been a larger-than-life, half-mythical place, and this collection offers an appropriately stunning mosaic of its many incarnations in poetry&#8211;ranging from Walt Whitman&#8217;s exuberant celebrations to contemporary poets&#8217; moving responses to the September 11 attack on the city. <P>All the icons of this greatest of cities swirl and flash through these pages&#58; taxis and subways, bridges and skyscrapers, ghettos and roof gardens and fire escapes, from the South Bronx to Coney Island to Broadway to Central Park, and from Langston Hughes&#8217;s Harlem to James Merrill&#8217;s Upper East Side. Wallace Stevens, e. e. cummings, W. H. Auden, Dorothy Parker, Elizabeth Bishop, Allen Ginsberg, and Audre Lorde are just a few of the poets gathered here, alongside a host of new young voices. <P>Encompassing as many moods, characters, and scenes as this multifaceted, ever-changing metropolis has to offer, <i>Poems of New York</i> will be treasured by literary lovers of New York everywhere.</p><h3>The New Yorker</h3><p>In 1811, city planners unveiled the urban grid that would become the New York we know; not long afterward, the city's first poet, Walt Whitman, came along to chronicle its particular nexus of enthusiasm, expansiveness, and elegant ennui. This well-selected volume of New York poems, conceived in the days following September 11, 2001, includes not only the tried-and-true anthology pieces but an assortment of excellent lesser-known poems; we're reminded that in New York all things end "Too soon! Too soon!" (as Ferlinghetti exclaimed), although the city's sophisticated residents will murmur only "It gets so terribly late" (Elizabeth Bishop, teasing a friend). There are some stirring September 11th elegies here, but Whitman's words speak most consolingly, across the century, to the city's new sense of strength imperilled: "It is not upon you alone the dark patches fall, / The dark threw its patches down upon me also."</p>

<P><i>Foreword</i><P><i>WALT WHITMAN (1819&#8211;1892)<br></i>Mannahatta Broadway Crossing Brooklyn Ferry <P><i>HERMAN MELVILLE (1819&#8211;1891)<br></i>The House-Top&#58; A Night Piece<P><i>AMY LOWELL (1874&#8211;1925)<br></i>The Taxi Anticipation <P><i>WALLACE STEVENS (1879&#8211;1955)<br></i>Arrival at the Waldorf <P><i>WILLIAM CARLOS WILLIAMS (1883&#8211;1963)<br></i>The Great Figure <P><i>SARA TEASDALE (1884&#8211;1933)<br></i>Union Square Broadway<P><i>MARIANNE MOORE (1887&#8211;1972)<br></i>New York <P><i>CLAUDE MCKAY (1889&#8211;1948)<br></i>The Tropics in New York The City&#8217;s Love A Song of the Moon<P><i>EDNA ST. VINCENT MILLAY (1892&#8211;1950)<br></i>Recuerdo<br>&#8216;&#8216;If I should learn&#8217;&#8217; <P><i>DOROTHY PARKER (1893&#8211;1967)<br></i>Observation <P><i>E. E. CUMMINGS (1894&#8211;1962)<br></i>&#8220;Taxis toot whirl people moving&#8221; <P><i>CHARLES REZNIKOFF (1894&#8211;1976)<br></i>&#8220;Walk about the subway station&#8221; <P><i>FEDERICO GARC&#205;A LORCA (1898&#8211;1936)<br></i>Dawn<P><i>HART CRANE (1899&#8211;1933)<br></i>To Brooklyn Bridge The Harbor Dawn The Tunnel <P><i>LANGSTON HUGHES (1902&#8211;1967)<br></i>The Weary Blues Good Morning Harlem Juke Box Love Song Subway Rush Hour <P><i>HELENE JOHNSON (1906&#8211;1995)<br></i>The Street to the Establishment <P><i>W. H. AUDEN (1907&#8211;1973)<br></i>Refugee Blues September 1, 1939 <P><i>GEORGE OPPEN (1908&#8211;1984)<br></i>Pedestrian <P><i>ELIZABETH BISHOP (1911&#8211;1979)<br></i>The Man-Moth Letter to N.Y. <P><i>MURIEL RUKEYSER (1913&#8211;1980)<br></i>Seventh Avenue <P><i>MAY SWENSON (1913&#8211;1989)<br></i>Staying at Ed&#8217;s Place At the Museum of Modern Art<P><i>KARL SHAPIRO (1913&#8211;2000)<br></i>Future-Present <P><i>LAWRENCE FERLINGHETTI (1919&#8211; )<br></i>&#8220;The Pennycandystore beyond the El&#8221;<P><i>AMY CLAMPITT (1920&#8211;1994)<br></i>Dancers Exercising <P><i>GRACE PALEY (1922&#8211; )<br></i>The Nature of This City Fear On Mother&#8217;s Day <P><i>HOWARD MOSS (1922&#8211;1987)<br></i>The Building The Roof Garden <P><i>DENISE LEVERTOV (1923&#8211;1997)<br></i>The Cabdriver&#8217;s Smile <P><i>JAMES SCHUYLER (1923&#8211;1991)<br></i>This Dark Apartment An East Window on Elizabeth Street March Here <P><i>WISLAWA SZYMBORSKA (1923&#8211; )<br></i>Photograph from September 11 <P><i>KENNETH KOCH (1925&#8211; )<br></i>Girl and Baby Florist Sidewalk Pram Nineteen Seventy Something<P><i>GERALD STERN (1925&#8211; )<br></i>96 Vandam Let Me Please Look Into My Window<P><i>FRANK O&#8217;HARA (1926&#8211;1966)<br></i>Steps Gamin <P><i>JAMES MERRILL (1926&#8211;1995)<br></i>An Urban Convalescence <br>164 East 72nd Street <P><i>ALLEN GINSBERG (1926&#8211;1997)<br></i>I am a Victim of Telephone My Sad Self <P><i>W. S. MERWIN (1927&#8211; )<br></i>St. Vincent&#8217;s <P><i>GALWAY KINNELL (1927&#8211; )<br></i>Room of Return Running on Silk<P><i>JOHN ASHBERY (1927&#8211; )<br></i>A Sendentary Existence So Many Lives <P><i>CHARLES TOMLINSON (1927&#8211; )<br></i>All Afternoon <P><i>PHILIP LEVINE (1928&#8211; )<br></i>Get Up <P><i>RICHARD HOWARD (1929&#8211; )<br></i>209 Canal Among the Missing<P><i>L. E. SISSMAN (1929&#8211;1976)<br></i>Tears at Korvette&#8217;s Visiting Chaos <P><i>ADRIENNE RICH (1929&#8211; )<br></i>Upper Broadway<P><i>GREGORY CORSO (1930&#8211;2001)<br></i>Eastside Incidents The Whole Mess . . . Almost<P><i>DEREK WALCOTT (1930&#8211; )<br></i>The Bridge <P><i>AMIRI BARAKA (1934&#8211; )<br></i>Return of the Native<P><i>MARK STRAND (1934&#8211; )<br></i>Night Piece <P><i>AUDRE LORDE (1934&#8211;1992)<br></i>To My Daughter the Junkie on a Train A Trip on the Staten Island Ferry <P><i>TED BERRIGAN (1934&#8211;1983)<br></i>Whitman in Black <P><i>HETTIE JONES (1934&#8211; )<br></i>Dust&#8212; A Survival Kit, Fall 2001 <P><i>JUNE JORDAN (1936&#8211;2002)<br></i>Toward a City that Sings <br>&#8220;If you saw a Negro lady&#8221; <P><i>C. K. WILLIAMS (1936&#8211; )<br></i>Love&#58; Wrath <br><i>From </i>War <P><i>CHARLES SIMIC (1938&#8211; )<br></i>Couple at Coney Island For the Very Soul of Me <P><i>THOMAS M. DISCH (1940&#8211; )<br></i>The Argument Resumed; or, Up Through Tribeca In Praise of New York <P><i>BILLY COLLINS (1941&#8211; )<br></i>Man Listening to Disc <P><i>ERICA JONG (1942&#8211; )<br></i>Walking Through the Upper East Side <P><i>SHARON OLDS (1942&#8211; )<br></i>Boy Out in the World <P><i>NIKKI GIOVANNI (1943&#8211; )<br></i>Just a New York Poem The New Yorkers <P><i>RONALD WARDALL (1947&#8211; )<br></i>Three Weeks After <P><i>DAVID LEHMAN (1948&#8211; )<br></i>The World Trade Center October 11, 1998 <br>September 14, 2001 <P><i>LAWRENCE JOSEPH (1948&#8211; )<br></i>In the Age of Postcapitalism <P><i>DOUG DORPH (1949&#8211; )<br></i>Love <P><i>EDWARD HIRSCH (1950&#8211; )<br></i>Man on a Fire Escape <P><i>JORIE GRAHAM (1951&#8211; )<br></i>Expulsion <P><i>ROBERT POLITO (1951&#8211; )<br></i>Overheard in the Love Hotel <P><i>NICHOLAS CHRISTOPHER (1951&#8211; )<br></i>Construction Site, Windy Night <br>1972, #43<br>The Last Hours of La&#243;dik&#234;, Sister of Hektor <P><i>ELIZABETH MACKLIN (1952&#8211; )<br></i>A Married Couple Discovers Irreconcilable Differences <P><i>VICKIE KARP (1953&#8211; )<br></i>Glass<P><i>LAURIE SHECK (1953&#8211; )<br></i>In the South Bronx The Subway Platform <P><i>CORNELIUS EADY (1954&#8211; )<br></i>The Amateur Terrorist Dread<P><i>PHILLIS LEVIN (1954&#8211; )<br></i>Out of Chaos<P><i>VIJAY SESHADRI (1954&#8211; )<br></i>A Werewolf in Brooklyn Immediate City <P><i>JUDITH BAUMEL (1956&#8211; )<br></i>You weren&#8217;t Crazy and You weren&#8217;t Dead<P><i>LI-YOUNG LEE (1957&#8211; )<br></i>From The City in Which I Love You <P><i>MART&#205;N ESPADA (1957&#8211; )<br></i>The Owl and the Lightning<P><i>JAMES LASDUN (1958&#8211; )<br></i>Woman Police Officer in Elevator <P><i>REGINALD SHEPHERD (1963&#8211; )<br></i>Antibody<P><i>DEBORAH GARRISON (1965&#8211; )<br></i>Worked Late on a Tuesday Night I Saw You Walking <P><i>MALENA M&#214;RLING (1965&#8211; )<br></i>Let Me Say This<P><i>WILLIE PERDOMO (1967&#8211; )<br></i>123rd Street Rap<P><i>DAVID BERMAN (1967&#8211; )<br></i>New York, New York <P><i>KEVIN YOUNG (1970&#8211; )<br></i>City-as-School <P><i>MELANIE REHAK (1971&#8211; )<br></i>Adonis All Male Revue, November 24<P><i>DAVID SEMANKI (1971&#8211; )<br></i>Rain <P><i>NATHANIEL BELLOWS (1972&#8211; )<br></i>Liberty Island <P><i>Acknowledgments</i>

<article> <h4>Adam Kirsch</h4>Poems of New York, a new entry in the Everyman’s Library Pocket Poets series, succeeds extraordinarily well in capturing the major strands of New York poetry. Part of the charm of the book is simply in the details, the familiar things transformed by metaphor.<br> —<i>The New York Observer</i> </article> <article> <h4>The New Yorker</h4>In 1811, city planners unveiled the urban grid that would become the New York we know; not long afterward, the city's first poet, Walt Whitman, came along to chronicle its particular nexus of enthusiasm, expansiveness, and elegant ennui. This well-selected volume of New York poems, conceived in the days following September 11, 2001, includes not only the tried-and-true anthology pieces but an assortment of excellent lesser-known poems; we're reminded that in New York all things end "Too soon! Too soon!" (as Ferlinghetti exclaimed), although the city's sophisticated residents will murmur only "It gets so terribly late" (Elizabeth Bishop, teasing a friend). There are some stirring September 11th elegies here, but Whitman's words speak most consolingly, across the century, to the city's new sense of strength imperilled: "It is not upon you alone the dark patches fall, / The dark threw its patches down upon me also." </article><article> <h4>Publishers Weekly</h4>From Walt Whitman's "Mannahatta" to Ted Berrigan's "Whitman in Black" and beyond to Hettie Jones's "Dust A Survival Kit, Fall 2001," Poems of New York collects poetic responses to Gotham's many facets. Selected and edited by Open City contributing editor and New York Times Book Review poetry reviewer Elizabeth Schmidt, the more than 125 poems here tend toward less familiar works from familiar names. Instead of Frank O'Hara's "A Step Away from Them" we get "Steps" ("all I want is a room up there/ and you in it") though Auden's "September 1, 1939" and Williams's famous "The Great Figure" the figure `5' glimpsed on a fire truck are here. As Schmidt notes in her introduction, "Poets who have written about New York are masters at preserving, and allowing us to cherish, moments of life in this theater of chance and change." </article>

This revised and expanded Black Theatre U.S.A. broadens its collection to fifty-one outstanding plays, enhancing its status as the most authoritative anthology of African American drama with 22 new selections. Building on the well-respected first edition published in 1974, this edition features previously unpublished works including In Dahomey, Liberty Deferred, and Star of Ethiopia, and the Department of Interior's infamous 1918 food pageant. Contemporary plays by women have been added - Robbie McCauley's Sally's Rape, Anna Deavere Smith's Fires in the Mirror, and Aishah Rahman's The Mojo and the Sayso, as well as the modern classics - Ntozake Shange's Colored Girls..., Adrienne Kennedy's Funnyhouse of a Negro, and Lorraine Hansberry's A Raisin in the Sun. The range of this collection extends from 1847 to 1992, including the great names in the African American pantheon of writers - Paul Laurence Dunbar, W. E. B. Du Bois, Angelina Grimke, Zora Neale Hurston, Langston Hughes, Richard Wright, and James Baldwin. The chronology begins with William Wells Brown's The Escape: or, a Leap for Freedom, based on his own life as an escaped slave. Two expatriot authors, Ira Aldridge and Victor Sejour, provide glimpses of life in Europe, while at home, playwrights struggled with the issues of birth control, miscegenation, lynching, and migration. The book embraces both commercial successes such as George C. Wolfe's The Colored Museum, and Charles Fuller's A Soldier's Play, as well as lesser-known masterpieces - Ben Caldwell's The First Militant Preacher, Owen Dodson's The Confession Stone, and Ted Shine's Contribution. The stylistic range, too, runs the gamut of genre from the realism of Ted Ward, Lonne Elder III, and Ed Bullins to the surrealism of Marita Bonner and Aishah Rahman. Comedy is present in Abram Hill's On Strivers Row and Douglas Turner Ward's Day of Absence which mock the racism of both Blacks and Whites.

<p>This revised and expanded Black Theatre U.S.A. broadens its collection to fifty-one outstanding plays, enhancing its status as the most authoritative anthology of African American drama with 22 new selections. Building on the well-respected first edition published in 1974, this edition features previously unpublished works including In Dahomey, Liberty Deferred, and Star of Ethiopia, and the Department of Interior's infamous 1918 food pageant. Contemporary plays by women have been added - Robbie McCauley's Sally's Rape, Anna Deavere Smith's Fires in the Mirror, and Aishah Rahman's The Mojo and the Sayso, as well as the modern classics - Ntozake Shange's Colored Girls..., Adrienne Kennedy's Funnyhouse of a Negro, and Lorraine Hansberry's A Raisin in the Sun. The range of this collection extends from 1847 to 1992, including the great names in the African American pantheon of writers - Paul Laurence Dunbar, W. E. B. Du Bois, Angelina Grimke, Zora Neale Hurston, Langston Hughes, Richard Wright, and James Baldwin. The chronology begins with William Wells Brown's The Escape: or, a Leap for Freedom, based on his own life as an escaped slave. Two expatriot authors, Ira Aldridge and Victor Sejour, provide glimpses of life in Europe, while at home, playwrights struggled with the issues of birth control, miscegenation, lynching, and migration. The book embraces both commercial successes such as George C. Wolfe's The Colored Museum, and Charles Fuller's A Soldier's Play, as well as lesser-known masterpieces - Ben Caldwell's The First Militant Preacher, Owen Dodson's The Confession Stone, and Ted Shine's Contribution. The stylistic range, too, runs the gamut of genre from the realism of Ted Ward, Lonne Elder III, and Ed Bullins to the surrealism of Marita Bonner and Aishah Rahman. Comedy is present in Abram Hill's On Strivers Row and Douglas Turner Ward's Day of Absence which mock the racism of both Blacks and Whites.</p>

<table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Early Period</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Recent Period</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Black Doctor</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Brown Overcoat</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Escape, or, A Leap for Freedom</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Dahomey</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Star of Ethiopia</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why We Are at War</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Appearances</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rachel</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mine Eyes Have Seen</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aftermath</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">They That Sit in Darkness</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Unborn Children</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Church Fight</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Undertow</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Purple Flower</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Deacon's Awakening</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Balo</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Sunday Morning in the South</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'Cruiter</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old Man Pete</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Job Hunters</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Don't You Want To Be Free?</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Big White Fog</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The First One</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Graven Images</TD><TD WIDTH="10%" ALIGN="RIGHT">334</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Natural Man</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Soldier's Play</TD><TD WIDTH="10%" ALIGN="RIGHT">364</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Liberty Deferred</TD><TD WIDTH="10%" ALIGN="RIGHT">394</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mulatto</TD><TD WIDTH="10%" ALIGN="RIGHT">412</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Native Son</TD><TD WIDTH="10%" ALIGN="RIGHT">432</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Take a Giant Step</TD><TD WIDTH="10%" ALIGN="RIGHT">475</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Raisin in the Sun</TD><TD WIDTH="10%" ALIGN="RIGHT">512</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ceremonies in Dark Old Men</TD><TD WIDTH="10%" ALIGN="RIGHT">555</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tumult and the Shouting</TD><TD WIDTH="10%" ALIGN="RIGHT">589</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Limitations of Life</TD><TD WIDTH="10%" ALIGN="RIGHT">631</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Strivers Row</TD><TD WIDTH="10%" ALIGN="RIGHT">634</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Day of Absence</TD><TD WIDTH="10%" ALIGN="RIGHT">672</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Amen Corner</TD><TD WIDTH="10%" ALIGN="RIGHT">691</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Confession Stone</TD><TD WIDTH="10%" ALIGN="RIGHT">724</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Funnyhouse of a Negro</TD><TD WIDTH="10%" ALIGN="RIGHT">741</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wine in the Wilderness</TD><TD WIDTH="10%" ALIGN="RIGHT">752</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for colored girls who have considered suicide...</TD><TD WIDTH="10%" ALIGN="RIGHT">771</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sally's Rape</TD><TD WIDTH="10%" ALIGN="RIGHT">776</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dutchman</TD><TD WIDTH="10%" ALIGN="RIGHT">789</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Goin' a Buffalo</TD><TD WIDTH="10%" ALIGN="RIGHT">800</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prayer Meeting: Or, The First Militant Preacher</TD><TD WIDTH="10%" ALIGN="RIGHT">827</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contribution</TD><TD WIDTH="10%" ALIGN="RIGHT">831</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blk Love Song #1</TD><TD WIDTH="10%" ALIGN="RIGHT">840</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Colored Museum</TD><TD WIDTH="10%" ALIGN="RIGHT">859</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Mojo and the Sayso</TD><TD WIDTH="10%" ALIGN="RIGHT">881</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fires in the Mirror</TD><TD WIDTH="10%" ALIGN="RIGHT">899</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliographies</TD><TD WIDTH="10%" ALIGN="RIGHT">909</TD></table>

<p>Transcendentalism was the first major intellectual movement in U.S. history, championing the inherent divinity of each individual, as well as the value of collective social action. In the mid-nineteenth century, the movement took off, changing how Americans thought about religion, literature, the natural world, class distinctions, the role of women, and the existence of slavery.<br> Edited by the eminent scholar Lawrence Buell, this comprehensive anthology contains the essential writings of Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and their fellow visionaries. There are also reflections on the movement by Charles Dickens, Henry James, Walt Whitman, Louisa May Alcott, and Nathaniel Hawthorne. This remarkable volume introduces the radical innovations of a brilliant group of thinkers whose impact on religious thought, social reform, philosophy, and literature continues to reverberate in the twenty-first century.</p>

<p>1.</p> <p>Mary Moody Emerson</p> <p>Letters to a Future Transcendentalist</p> <p>(1817—51)</p> <p>Mary Moody Emerson (1774-1863) was Ralph Waldo Emerson's aunt and first mentor. She was a striking figure in her own right. She impressed all who came into contact with her—which included most of the Transcendentalist circle—with her unsystematic brilliance, her spiritual intensity, her biting wit, and her eccentric force. The younger sister of Emerson's father, she became the family matriarch after his early death. She had high hopes that Ralph Waldo would distinguish himself in the ministerial career that the men in his family had pursued for six unbroken generations back to colonial times. She wound up driving him toward Transcendentalism even as she tried to warn him away.</p> <p>The many letters she sent him over more than forty years display her unique talents. They led Emerson, astonishingly, to praise her as one of the great prose stylists of her day, although she wrote almost nothing for publication. Both of them relished their correspondence. Many of Mary Emerson's turns of thought and even her turns of phrase resurface in his own later essays. They took a similar delight in the natural world, in ranging widely through Asian as well as western thought and literature, in moral and spiritual inquiry, and in a headlong free-associative style of thought and expression.</p> <p>Here are a dozen passages from Mary's letters to her nephew, starting with a comically extravagant letter of congratulation upon the start of his freshman year at Harvard at the tender but then typical age of fourteen. Often she responds pointedly to his own letters and compositions, from a juvenile proposal for "reform" of drama through high-minded literary criticism (item 4) to major work like his 1838 Divinity School Address (item 11), which took her aback, as it did most of his elders. Mary's oblique reflection on the controversy, her fable of Urah, may have suggested Emerson's poem "Uriel" (see Section V-B below).</p> <p>Too conservative to approve of Waldo's Transcendental turn, Mary Emerson nonetheless helped set him—and the movement—on the way. But no matter how famous he became, she never ceased to admonish him when she thought he deserved it. Her charge that wealth was a topic unworthy of him (item 12) is a prime example.</p> <p>SOURCE: The Selected Letters of Mary Moody Emerson, ed. Nancy Craig Simmons. Athens: University of Georgia Press, 1993. Spelling as well as punctuation of these letters have been partially normalized for the sake of readability.</p> <p>(1)</p> <p>What dull Prosaic Muse would venture from the humble dell of an unlettered district, to address a son of Harvard? . . . In that great Assembly, where human nature is purified from its native dross &amp; ignorance, may the name of my dear Waldo be inrolled.</p> <p>[NOVEMBER 4, 1817]</p> <p>(2)</p> <p>The spirits of inspiration are abroad tonight. I have rode only to go out &amp; see the wonderous aspect of nature. . . . We love nature—to individuate ourselves in her wildest moods; to partake of her extension, &amp; glow with her colors &amp; fly on her winds; but we better love to cast her off and rely on that only which is imperishable. Shakespeare has admirably described the universal influence of the infinite Spirit by that of the sun, whose light &amp; warmth brings to maturity the healthiest plant &amp; the most poisonous—corrupts the corruptible, &amp; nourishes the splendid tribe of flora with the same beam. What an illustration—and of what a truth! . . . Right and wrong have had claims prior to all rites—immutable &amp; eternal in their nature . . . [JANUARY 18, 1821]</p> <p>(3)</p> <p>I have been fortunate this week to find a Visitor here from India, well versed in its literature &amp; theology. He showed us some fine representations of the incarnation of Vishnoo. They are much akin to Grecian fable—and from his representation I believe the incarnations to be much like the doctrine of transmigration. At bottom of the histories of the incarnations is often the doctrine of the universal presence &amp; agency of One God. . . .</p> <p>As to books, I've been only where you have, sometimes in Merlin's cave and Homer's shades, sometimes. Was delighted with the speech made by Ulysses to the shade of his mother. [Alexander] Pope's—is it better in original? Have been surprised to find in the 10th book of [the Roman poet] Juvenal some lines very like to the concluding ones of [Samuel] Johnson's "Vanity of Human Wishes." Could Johnson have borrowed from the heathen? [MAY 24, 1822]</p> <p>(4)</p> <p>. . . As to words &amp; languages being so important—I will have nothing of it. The images, the sweet immortal images are within us—born there, our native right, and sometimes one kind of sounding word or syllable wakens the instrument of our souls and sometimes another. But we are not slaves to sense any more than to political usurpers, but by fashion &amp; imbecility. Aye, if I understand you, so you think.</p> <p>In the zeal of writing I began with the last sentence of your letter, &amp; have just read backwards till I am now for the first time in cool possession of the whole letter—Glad to hear you complain of fine splendid expressions without proportionate fine thoughts. But not that in order to judge you must read all the pieces or rather that you intend a reform which will oblige you to go thro' such bogs &amp; fens &amp; sloughs of passion &amp; crime. . . . And to me who am, if possible, more ignorant on the history &amp; character of the Drama than any other subject, it seems a less usefull exercise as it respects the reformer than any scientific or literary pursuit. [JUNE 26, 1822]</p> <p>(5)</p> <p>. . . Would to God thou wert ambitious—respected thyself more &amp; the world less. Thou wouldst not to Cambridge [to enroll at Harvard Divinity School.] . . . It is but a garnished sepulchre where may be found some relics of the body of Jesus—some grosser parts which he took not at his ascent . . . [NOVEMBER 7, 1824]</p> <p>(6)</p> <p>It is worse than idle to ridicule the fall—unless you can account for the origin of evil. . . . The apple may be allegorical—but if it were real it answered for a sign, an arbitrary one, be sure, of a government disciplinary &amp; perspective. The principle of obedience is the first in education—and the more trifling the object the more important the danger of defection. . . . Evil must have a beginning. If it were eternal—! What should we infer—that eternal right was coeval with—&amp; implied in its opposite? . . . Well, one &amp; all have the subject in the dark where God intended. And I never talk of the fall nor think of it—for the difficulties are too great. [JULY 8, 1827]</p> <p>(7)</p> <p>Would I could die today that this aching sense of immortality might be satisfied or cease to ache. The difficulty remains the same when I struggle with the extension of never never never—just as I repeated the exercise in childhood: cant form an idea, cant stretch myself to that which has no end. It may be owing to the limits of childhood repeating the idea &amp; wishing to come at an end in vain. . . . It is this impossibility of losing oneself, tho' ages pass over the change, that argues immortality. [SEPTEMBER 9, 1827]</p> <p>(8)</p> <p>My thanks for the sensibility you express at my being hurt to be thought by you distraught. But after all I do appear so to other folks, when under the influence of the indifference I feel to society (or somthing worse) with the extreme pleasure of wittnessing their fine things. The fears which I read in the countenance of my family lead me to act more independently than I should, if I were coaxed with their confidence. . . . You have borne with my outre manners and protected them better than any youth. Only forgive me greater &amp; worser defects of character—and these which pass away with the discordant humours of the body are of no import. [MAY 2, 1828]</p> <p>(9)</p> <p>Let us not complain of calvinism—its most terrible points are better than nothing. If the bible is a fable I would cherish it now in age with undying zeal—It may have a truth of infinite weight like other fables which have a little. But it is not a fable I know. It answers to the living consciousness of God's impress on the soul. It develops the divinity within. Not the poetic gospelless divinity of German idealism—whose baseless fabrick will vanish into thin air. [AUGUST (?) 1829]</p> <p>(10)</p> <p>You most beloved of ministers, who seemed formed by face, manner &amp; pen to copy &amp; illustrate the noblest of all institutions, are you at war with that angelic office? . . . And I may ask what you mean by speaking of "a great truth whose authority you would feel as its own"? In the letter of Dec 25 you [write] "whether the heart were not the Creator." Now if this withering Lucifer doctrine of pantheism be true, what moral truth can you preach or by what authority should you feel it? Without a personal God you are on an ocean mast unrigged for any port or object. Then why not continue to preach—&amp; pray too? Where is the truth, so infinitely weighty with the true theist, injured? Some body must keep up these idle institutions &amp; they may keep men from jail and gallows. What better scope for the intellectual reservoir? And such has been your integrity, whenever I have been indulged with hearing or reading, what St Paul, who had the fullest convictions of Jesus being the only medium of communication with the Incomprehensible, would not tax your sincerity, tho' he would regret the different character you assigned. Pardon me if I declaim with the garrulity of age.</p> <p>[FEBRUARY 1832]</p> <p>(11)</p> <p>I love to gaze after the illuminati. . . . Yet believe with Burke that no improvement can be expected in the great truths &amp; institutions of morality and religion. And I lost my inquiries in thinking of the fabled Urah, who belonging to the coterie of Plato, was sent down by that high person . . . to reform a certain district and give it some utopian ornaments—so dully progressive so sober &amp; stale that in his disgust he breathed a fire which consumed every old land mark—tore up the moss-covered mounds; and the very altars which had been the refuge of the poor &amp; sinfull &amp; decrepit instead of being bettered were almost demolished—and in the destruction it is said that the wings of the spiritual vehicle were so scorched that he was forced to ask aid of a disciple of the old reforming Patriarch who was buried on some old loved spot, and he, tho' looked on as a very plodder, constructed a chariot of clouds which conveyed the messenger home to new fledge his wings. And the story goes, that when they were in action again he visited the same place &amp; found it overrun with barbarism &amp; governed by an ugly Radicale. [SEPTEMBER 1838?]</p> <p>(12)</p> <p>Wealth my dear Waldo: how could you—you gifted to rouse the interior to make even Christians think &amp; feel at certain high sentiments—how, under what illusion, could you lecture to Concord of its advantages? You sap the foundations of all that is great &amp; independant. Oh send the young to Brothels &amp; intemperance. . . . You who have steadily stood for the rights of the slave are riveting his chains &amp; pursuing the fugitive with increasing the rage the mania for wealth. Were you poor (and the papers speak of your high taxes) what a beautifull vision you might have drawn of its baseless fabrick while you awakened charity in its depths and glory. Forgive me if I offend, &amp; send me the lecture.</p> <p>[FEBRUARY 1851]</p> <p>2.</p> <p>Samuel Taylor Coleridge</p> <p>Reason Versus Understanding</p> <p>(1825, 1829)</p> <p>Coleridge (1772-1834) was a leading British Romantic poet and one of the most inventive critical thinkers of his age. Along with Thomas Carlyle, he was more influential in interpreting German thought for American audiences than any other early-nineteenth-century British writer. A prime example is Coleridge's restatement of the Kantian distinction between "Reason" and "Understanding," in the face of the prevailing Anglo-American view, which rested on John Locke's contention that all knowledge is derived empirically, from sense experience. In Locke's view, reason and understanding were synonymous. Coleridge prepared the way for the Transcendentalist conception of Reason as a power of mind or soul that enables a person to grasp divine or Transcendent truth intuitively. (Ironically, Kant himself had explicitly denied the human mind such power. Such are the vagaries of intellectual history.) Coleridge's distinction reached most Transcendentalists through the American edition of his Aids to Reflection (1829), edited by Vermont Calvinist James Marsh (1794-1842). This indeed was "the decisive event in establishing respect" for Coleridge "as a thinker," as the authoritative modern scholarly edition of Aids declares. Marsh's prefatory remarks chastised Locke and seconded the importance of the Reason-Understanding distinction in ways that prompted both foes and friends to lump Marsh with the Transcendentalists—to his acute irritation.</p> <p>SOURCE: Aids to Reflection, ed. James Marsh. Burlington, Vermont: Chauncey Goodrich, 1829. Reprinted from the original English edition of 1825.</p> <p>Reason is the Power of universal and necessary Convictions, the Source and Substance of Truths above Sense, and having their evidence in themselves. . . . Contemplated distinctively in reference to formal (or abstract) truth, it is the speculative Reason; but in reference to actual (or moral) truth, as the fountain of ideas and the Light of the Conscience, we name it the Practical Reason. Whenever by self-subjection to this universal Light, the Will of the Individual, the particular Will, has become a Will of Reason, the man is regenerate: and Reason is then the Spirit of the regenerated man, whereby the Person is capable of a quickening inter-communication with the Divine Spirit. . . .</p> <p>On the other hand, the Judgments of the Understanding are binding only in relation to the objects of our Senses, which we reflect under the forms of the Understanding. . . .</p> <p>To apply these remarks for our present purpose, we have only to describe Understanding and Reason, each by its characteristic qualities. The comparison will show the difference.</p> <p>UNDERSTANDINGREASON</p> <p>1.Understanding is discursive.1.Reason is fixed.</p> <p>2.The Understanding in all its 2.The Reason in all its decisions</p> <p>judgments refers to some other appeals to itself as the ground</p> <p>faculty as its ultimate authority.and substance of their truth.</p> <p>3.Understanding is the faculty 3.Reason of Contemplation. . . .</p> <p>of Reflection.-Reason is a direct Aspect of Truth, an inward Beholding, having a similar relation to the Intelligible or Spiritual, as Sense has to the Material or Phenomenal.</p>

<p>Transcendentalism was the first major intellectual movement in U.S. history, championing the inherent divinity of each individual, as well as the value of collective social action. In the mid-nineteenth century, the movement took off, changing how Americans thought about religion, literature, the natural world, class distinctions, the role of women, and the existence of slavery.<br>Edited by the eminent scholar Lawrence Buell, this comprehensive anthology contains the essential writings of Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and their fellow visionaries. There are also reflections on the movement by Charles Dickens, Henry James, Walt Whitman, Louisa May Alcott, and Nathaniel Hawthorne. This remarkable volume introduces the radical innovations of a brilliant group of thinkers whose impact on religious thought, social reform, philosophy, and literature continues to reverberate in the twenty-first century.</p>

<TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters to a future transcendentalist</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reason versus understanding</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Humanity's likeness to God</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The age of machinery</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A young minister refuses to perform a crucial duty</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The significance of Kantian philosophy</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Victor Cousin and the future of American philosophy</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nature</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The doctrine and discipline of human culture</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The reconciliation of God, humanity, state, and church</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The American scholar"</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Transcendentalism"</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter of intent to resign</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The transcendentalist"</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Boston transcendentalism</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A transcendentalist's profession of faith</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Divinity school address</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The new school in literature and religion"</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">God's personhood vindicated</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A discourse on the latest form of infidelity</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The latest form of infidelity" examined</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Recollection of mystical experiences</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A discourse of the transient and permanent in Christianity</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Transcendental Bible"</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christianity and Hinduism compared</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The sympathy of religions"</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The laboring classes"</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ralph Waldo Emerson declines George Ripley's invitation to join Brook Farm</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Self-reliance"</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Plan of the West Roxbury community"</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brook Farm's (first published) constitution</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "A sermon of merchants"</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Italian revolution</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Resistance to civil government"</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A controversial experiment in progressive education : part one</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A controversial experiment in progressive education : part two</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Margaret Fuller conversation on gender</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The great lawsuit"</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why Concord? : ("Musketaquid")</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Life in the woods"</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Walking"</TD><TD WIDTH="10%" ALIGN="RIGHT">329</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two proposals for land preservation</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Saints, and their bodies"</TD><TD WIDTH="10%" ALIGN="RIGHT">338</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The significance of British West Indian emancipation</TD><TD WIDTH="10%" ALIGN="RIGHT">347</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the narrative of Frederick Douglass</TD><TD WIDTH="10%" ALIGN="RIGHT">354</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The function of conscience" and "The fugitive slave law"</TD><TD WIDTH="10%" ALIGN="RIGHT">357</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The fugitive slave law"</TD><TD WIDTH="10%" ALIGN="RIGHT">362</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "A plea for Captain John Brown"</TD><TD WIDTH="10%" ALIGN="RIGHT">370</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The editors to the reader"</TD><TD WIDTH="10%" ALIGN="RIGHT">383</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Verses of the portfolio</TD><TD WIDTH="10%" ALIGN="RIGHT">388</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The poet"</TD><TD WIDTH="10%" ALIGN="RIGHT">392</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "American literature"</TD><TD WIDTH="10%" ALIGN="RIGHT">405</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Music philosophically considered</TD><TD WIDTH="10%" ALIGN="RIGHT">410</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Preface to Leaves of grass</TD><TD WIDTH="10%" ALIGN="RIGHT">416</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">selected "Orphic sayings"</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Report of Margaret Fuller conversation on "life"</TD><TD WIDTH="10%" ALIGN="RIGHT">424</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Sayings of Confucius"</TD><TD WIDTH="10%" ALIGN="RIGHT">427</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A walk to Walden</TD><TD WIDTH="10%" ALIGN="RIGHT">429</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First days at Walden</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Boat song</TD><TD WIDTH="10%" ALIGN="RIGHT">442</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hymn of the Earth</TD><TD WIDTH="10%" ALIGN="RIGHT">443</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Wachusett"</TD><TD WIDTH="10%" ALIGN="RIGHT">444</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Enosis</TD><TD WIDTH="10%" ALIGN="RIGHT">446</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Correspondences</TD><TD WIDTH="10%" ALIGN="RIGHT">447</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The pines and the sea</TD><TD WIDTH="10%" ALIGN="RIGHT">448</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Each and all</TD><TD WIDTH="10%" ALIGN="RIGHT">450</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The problem</TD><TD WIDTH="10%" ALIGN="RIGHT">451</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Uriel</TD><TD WIDTH="10%" ALIGN="RIGHT">453</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The rhodora : on being asked, whence is the flower?</TD><TD WIDTH="10%" ALIGN="RIGHT">455</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hamatreya</TD><TD WIDTH="10%" ALIGN="RIGHT">455</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The snow-storm</TD><TD WIDTH="10%" ALIGN="RIGHT">457</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ode, inscribed to W. H. Channing</TD><TD WIDTH="10%" ALIGN="RIGHT">458</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bacchus</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hymn : sung at the completion of the Concord monument, April 19, 1836</TD><TD WIDTH="10%" ALIGN="RIGHT">463</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brahma</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Boston hymn read in music hall, January 1, 1863</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Days</TD><TD WIDTH="10%" ALIGN="RIGHT">467</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Meditations, Sunday, May 12, 1833</TD><TD WIDTH="10%" ALIGN="RIGHT">469</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My seal-ring</TD><TD WIDTH="10%" ALIGN="RIGHT">471</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[Each Orpheus]</TD><TD WIDTH="10%" ALIGN="RIGHT">472</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To a friend</TD><TD WIDTH="10%" ALIGN="RIGHT">472</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Questionings</TD><TD WIDTH="10%" ALIGN="RIGHT">473</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[I stood upon the sullen shore]</TD><TD WIDTH="10%" ALIGN="RIGHT">477</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Oh melancholy liberty</TD><TD WIDTH="10%" ALIGN="RIGHT">477</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[One look the mother cast upon her child]</TD><TD WIDTH="10%" ALIGN="RIGHT">477</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[I see them ...]</TD><TD WIDTH="10%" ALIGN="RIGHT">478</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[Better a sin which purposed wrong to none]</TD><TD WIDTH="10%" ALIGN="RIGHT">478</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[To Emerson]</TD><TD WIDTH="10%" ALIGN="RIGHT">479</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[Lo! cast upon the shoal of time]</TD><TD WIDTH="10%" ALIGN="RIGHT">479</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[Great God, I ask thee ...]</TD><TD WIDTH="10%" ALIGN="RIGHT">482</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Haze</TD><TD WIDTH="10%" ALIGN="RIGHT">482</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[My love must be as free]</TD><TD WIDTH="10%" ALIGN="RIGHT">483</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The inward morning</TD><TD WIDTH="10%" ALIGN="RIGHT">484</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sic Vita</TD><TD WIDTH="10%" ALIGN="RIGHT">485</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Smoke</TD><TD WIDTH="10%" ALIGN="RIGHT">486</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The new birth</TD><TD WIDTH="10%" ALIGN="RIGHT">488</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The presence</TD><TD WIDTH="10%" ALIGN="RIGHT">489</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nature</TD><TD WIDTH="10%" ALIGN="RIGHT">489</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Barberry bush</TD><TD WIDTH="10%" ALIGN="RIGHT">490</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The garden</TD><TD WIDTH="10%" ALIGN="RIGHT">490</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The brother's blood</TD><TD WIDTH="10%" ALIGN="RIGHT">491</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yourself</TD><TD WIDTH="10%" ALIGN="RIGHT">491</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The better self</TD><TD WIDTH="10%" ALIGN="RIGHT">492</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To you</TD><TD WIDTH="10%" ALIGN="RIGHT">494</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Leila"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Ktaadn"</TD><TD WIDTH="10%" ALIGN="RIGHT">505</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A transcendental childhood</TD><TD WIDTH="10%" ALIGN="RIGHT">513</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glimpses of transcendental Concord</TD><TD WIDTH="10%" ALIGN="RIGHT">523</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Recollections of a transcendentalist insider</TD><TD WIDTH="10%" ALIGN="RIGHT">526</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Emerson observed</TD><TD WIDTH="10%" ALIGN="RIGHT">529</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A dying transcendentalist looks back</TD><TD WIDTH="10%" ALIGN="RIGHT">532</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Historic notes of life and letters in Massachusetts"</TD><TD WIDTH="10%" ALIGN="RIGHT">538</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Transcendentalism in New England</TD><TD WIDTH="10%" ALIGN="RIGHT">542</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Transcendentalism as feminist</TD><TD WIDTH="10%" ALIGN="RIGHT">546</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Concord pilgrimage</TD><TD WIDTH="10%" ALIGN="RIGHT">554</TD></TABLE>

<p>Since its inception in 1915, the Best American series has become the premier annual showcase for the country's finest short fiction and nonfiction. For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected—and most popular—of its kind.<br> Lorrie Moore brings her keen eye for wit and surprise to the volume, and The Best American Short Stories 2004 is an eclectic and enthralling gathering of well-known voices and talented up-and-comers. Here are stories that probe the biggest issues: ambition, gender, romance, war. Here are funny and touching and striking tales of a Spokane Indian, the estranged wife of an Iranian immigrant, an American tutor in Bombay. In her introduction Lorrie Moore writes, "The stories collected here impressed me with their depth of knowledge and feeling of character, setting, and situation . . . They spoke with amused intelligence, compassion, and dispassion."</p>

<h1><font size="+3">The Best American Short Stories 2004</font></h1> <hr noshade size='1'> <h4><b>Houghton Mifflin Company</b></h4> <font size="-1"><b>Copyright © 2004</b></font> <font size="-1"><b>Houghton Mifflin<br> All right reserved.</b></font><br> <font size="-1"><b>ISBN: 0-618-19734-6</b></font> <br> <hr noshade size='1'> <br> <h3>Introduction</h3> Over the years I have listened to fellow teachers and writers pronounce on literary fiction - its predators, prey, habits, and habitats - and as I've gotten older I have stopped taking notes and attempted instead not to fidget rudely in my seat. For some reason it seems that everything I hear now sounds increasingly untrue. Or at least no more true than its exact opposite. It seems that no matter what one says about reading and writing, or about short stories and novels, a hundred exceptions support the opposite case. Short stories are for busy people or short attention spans: Well, then why can a reader duck in and out of a novel for ten-minute intervals but not do so successfully with a short story? People don't read anymore: Then why are books being published - and sold - at a record number? There is no literary community: What are all these writing programs and reading series and book-groups-in-the-middle-of-nowhere? Perhaps all these assertions occur because, too often, and more and more, writers are asked to speak publicly of their art (oh, dear) or their approach to their craft (that alarmingly nautical phrase), and what has resulted may be simply the desperate, improvised creative-writing yack of good people uncomfortably far from their desks. <p>Nonetheless, opportunities such as thisintroduction encourage implausible pronouncements and sweeping generalizations, and though I am not easily encouraged, I am surely immune from nothing - a lesson learned from literature.</p> <p>There is no thoroughly convincing theory of the short story - it is technically a genre, not a form, but resists the definitions that usually cluster around both. There is the defining length (an unedifying fifty-page range), there is the short story's lonely voice from a submerged population (Frank O'Connor's famous hypothesis), and there are various "slice of life" ideas and notions of literary apprenticeship (stories are what writers do on their way to a novel).</p> <p>All of these convey what happens sometimes - what happens a lot - but in lieu of a truly winning overriding theory, we should rely perhaps on simple descriptions, in which case the more the merrier. Let me throw some into the pot. Many that I've heard - and used myself - are fashioned as metaphors comparing shorter and longer narratives, attempting to define the one through its relationship to the other. A short story is a love affair; a novel is a marriage.</p> <p>A short story is a photograph; a novel is a film. A short story is a weekend guest; a novel is a long-term boarder. A story is a brick; a novel is a brick wall. And my favorite, the asymmetrical a short story is a flower; a novel is a job.</p> <p>From its own tradition, the novel arrives to reader and writer alike, baggy, ad hoc, bitter with ambition, already half ruined. The short story arrives, modest, prim, and purposeful, aiming for perfection, though the lengthier it is, the more novel-like, the more it puts all that at risk, acquiring instead, in a compelling trade, the greater, sustained attention of the reader, upon whom a more lasting impression will be made, if all goes well. (This year's anthology, I think, tends to favor the longer short story.)</p> <p>Yet a story's very shortness ensures its largeness of accomplishment, its selfhood and purity. Having long lost its ability to pay an author's rent (in that golden blip between Henry James and television, F. Scott Fitzgerald, for one, wrote stories to fund his novels), the short story has been freed of its commercial life to become serious art, by its virtually every practitioner. As a result, short or long, a story lies less. It sings and informs and blurts. It has nothing to lose.</p> <p>In adding my own heedless descriptions to the stew, I have often liked to think that short stories have something in common with songs - not just the digested-in-a-single-sitting aspect of them, but their distillation of emotion and circumstance, their interest in beautiful pain. Like songs, there is often more urgency to them, less forewarning and professional calculation in their creation. Similarly, like songs, they are often about some kind of love gone bad - love for an overcoat, a tenor, a babysitter, to name three famous ones (by Gogol, Joyce, and Cheever) - or, at random from this book, love for a ranch, a waitress, a goat, a daughter (Proulx, Boyle, Munro, Lewis). These love objects represent lives and possibilities, spiritual entrances and exits, which are at one time within reach of a person but, as the story tells us, due to interesting, musical, and sorrowful particularities, soon pass by and away and without - like a long, empty train at a crossing.</p> <p>Oh, darlin'.</p> <p>For now, for my purposes here, this may have to do for a coarse, working hypothesis of the short story.</p> <p>If literature exists, as one wag has it, so that readers can spend time with people they would never want to in real life, then a short story might be considered doubly, deeply literary in that even its author - not just its reader - has decided to spend an abbreviated amount of time with its inhabitants (the characters a writer commits a lot of time to end up in novels).</p> <p>Perhaps this limitation accounts for the prevailing sadness of short stories. Authors of short stories are interested in the difficult emotions of their protagonists only up to a point. They are more interested in constructing a quick palimpsest of wounds and tones and triggering events. After that, the authors depart, exactly where the reader must depart: pre-noose. That is part of a story's melancholy and civility. Leave the bustling communities, cathartic weddings, and firing squads for novels.</p> <p>As for their oft stated affinity with poetry, short stories do have in common with poems an interest in how language completes one's understanding of the world, although the way language is used by ordinary people (registered within a story as the voices of its characters) can also disguise and obscure that understanding, a psychological and dramatic element a story usually takes more interest in than a poem. I would say that all the stories included herein are interested in how people talk. They are interested in the value, beauty, and malarkey of words that people utter to themselves or others. That is how human life is best captured on the page: through its sound. The stories here are interested, too, in the settings that shape this sound - landscapes are given vivid paint and life. Finally, stories generally, and certainly the ones here, are interested in some cultural truth delivered and given amnesty through the paradoxical project of narrative invention and the mechanisms of imagination. Unlike novels or poems, but more akin to a play, the short story is also an end-oriented form, and in the best ones the endings shine a light back upon the story illumining its meaning with both surprise and inevitability. If a story is not always, therapeutically, an axe for the frozen sea within us, then it is at least a pair of brutally sharpened ice skates.</p> <p>As for this year's story selection itself, correctly or not, I didn't view the process as a contest - why pit an apple against an orange - but as the assembling of a book, and the great variety of first-rate reading that is in it, I think, speaks to the health of the North American short story. (Eat your fruit!) Much has been made in this series about the editorial custom of "reading blind" - an honorable phrase suggestive of a fluency in Braille - and I did, late in the process, gruesomely burst a blood vessel in my eye, which made it difficult sometimes to see. But I must confess: I had read some of these stories before they came to me with their authors' names blackened out. I did so simply because I was not going to forego my usual habit of reading short stories as they appeared throughout the year in various magazines. This did not affect my opinions one way or the other, however, nor - I swear - did holding those babies up to the window light to see if I could make out any of those blacked-out names. Friends? Relatives? Could I pretend that brazen copyediting had caused me to fail to recognize one of my own stories and accidentally-on-purpose choose it? With all too many stories to pick from, in the end, as editorial criteria, I was left with only my own visceral responses to the stories themselves: Was I riveted? Did a story haunt me for days? Or did one nail drive out the other, as I ultimately read them in that most ungenerous but revealing of ways: from piles. Before reading all of them, as I received them in large packets in the mail (from Katrina Kenison, whose lovely name, in a spell of midwinter doldrums, I began to covet), I imagined my "editorial criteria" might be a simple matter of suicide prevention - which stories, for instance, did not send my own hands flying to my throat - though somewhat unexpectedly the reading became a joyous activity I felt disappointed to conclude (in the end, coveting Katrina Kenison's job, as well).</p> <p>The stories collected here impressed me with their depth of knowledge and feeling of character, setting, and situation - or at least with their convincingly fabricated semblance thereof. They spoke with amused intelligence, compassion, and dispassion, and I trusted their imaginative sources, which seemed not casual but from the deep center of a witnessing life and a thoughtful mind. True eloquence, said Daniel Webster, a little theatrically, cannot be brought from afar but must exist in the person, the subject, the occasion. "If it comes at all it comes like the outbreaking of a fountain from the earth or the bursting of volcanic fires with spontaneous, original, native force, the clear conception outrunning the deductions of logic." Outrunning the deductions of logic is what literature does and why we read it. And a story - with its narrative version of a short man's complex - aims for quick eloquence and authority in voice and theme. But emotional heart and dramatic unpredictability are part of why it is the preferred form of fiction writers learning their art and why it has taken over much of our literary education - the Napoleon of the narrative world. A story's economy, its being one writer's intimate response to a world (as opposed to a novelist's long creation of a world), a response that must immerse a reader vividly and immediately, allows a gathering of twenty such responses in an anthology such as this and offers a kind of group portrait of how humanity is currently faring. Is that not, too, why we read short stories? To see in ways that television and newspapers cannot show us what others are up to - those who are ostensibly like us, as well as those ostensibly not? The stories here, I felt, did that.</p> <p>In the end, I noticed an assortment of perhaps not accidental things, such as the number of stories set in the distant past which failed to win me over entirely (is the short story sometimes too abbreviated a space to close that distance authentically and make the long ago seem real?). On the other hand, I noticed that a number of stories I'd chosen were written from the point of view of the opposite sex of the author (those by Fox, Smith, Proulx, Eisenberg, Waters). (Is the short story especially hospitable to this kind of transgendered sympathy and ventriloquism?)</p> <p>Mostly, however, I was intrigued by the very different stories I'd chosen that had certain random themes in common - or I assume random. One would be reluctant, even foolish, to offer these things up as indicative of something that in a widespread way is on the American mind. Nonetheless, two stories - Nell Freudenberger's "The Tutor" and Sarah Shun-lien Bynum's "Accomplice" - focus on a girl's academic ambitions and the awkward relationship those ambitions have to each girl's devoted father. "'A toast,' said Julia's father," writes Freudenberger in a moment charged with love and irony. "'To my daughter the genius.'" And in Bynum's "Accomplice": There she saw her father, leaning forward very slightly, and holding onto the pew in front of him. He was smiling at her. Hugely. She lost her bearings entirely."</p> <p>Two urban romances - "Grace" by Paula Fox and "Tooth and Claw," T. C. Boyle's loose update of "The Lady or the Tiger?" - use animals as MacGuffins, emblems, touchstones, and substitutes for human emotion, character, and appetite, as does Alice Munro's "Runaway." Here is Munro's quite useful description of a goat: "At first she had been Clark's pet entirely, following him everywhere, dancing for his attention. She was as quick and graceful and provocative as a kitten, and her resemblance to a guileless girl in love had made them both laugh. But as she grew older she seemed to attach herself to Carla, and in this attachment she was suddenly much wiser, less skittish - she seemed capable, instead, of a subdued and ironic sort of humor." And here is Boyle's wild African serval locked in a bedroom: "The carpeting - every last strip of it - had been torn out of the floor, leaving an expanse of dirty plywood studded with nails, and there seemed to be a hole in the plasterboard just to the left of the window. A substantial hole. Even through the closed door I could smell the reek of cat piss or spray or whatever it was. 'There goes my deposit,' I said."</p> <p>Two stories - by the poet R. T. Smith and by Mary Yukari Waters - compassionately satirize the custodial culture that can spring up decades later in a war-vanquished land. Waters's "Mirror Studies" begins: "The Kashigawa district, two hours from the Endos' home in Tokyo, was an isolated farming community with two claims to distinction: indigenous harrier monkeys up in the hills, and a new restaurant - Fireside Rations - that served 'rice' made from locally grown yams. This restaurant had been featured in an Asahi Shimbun article about the trendy resurgence of wartime food, also known as nostalgia cuisine ... City dwellers, jaded by French and Madeiran cuisine, were flocking out on weekends to try it." In Smith's dramatic monologue, "Docent," a romantically jilted tour guide, done up with Confederate absurdity in a hoop skirt and hairnet, warns, "If you have a morbid curiosity about the Fall of the South - which is not the same as a healthy historical interest - please save your comments for your own diaries and private conversations."</p> <p>Edward Jones's "A Rich Man" and Thomas McGuane's "Gallatin Canyon" pull no punches in their sharply written tales of masculine vanity's bravado and backfirings. In "A Rich Man," Horace, set up for a fall, sees himself as "the cock of the walk." When, in "Gallatin Canyon," the protagonist, proud of his recent material success, asks his girlfriend what she thinks of the new prosperity around them, she says, presciently, "I'm not sure it's such a good thing, living in a boomtown. It's basically a high-end carny atmosphere." Which is what, in a way, ensues in both stories.<br> <br> <i>Continues...</i><br> </p> <blockquote> <hr noshade size='1'> <font size='-2'>Excerpted from <b>The Best American Short Stories 2004</b> Copyright © 2004 by Houghton Mifflin . Excerpted by permission.<br> All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<br> Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.</font> <hr noshade size='1'> </blockquote>

<p><p>Since its inception in 1915, the Best American series has become the premier annual showcase for the country's finest short fiction and nonfiction. For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected -- and most popular -- of its kind.<br> Lorrie Moore brings her keen eye for wit and surprise to the volume, and The Best American Short Stories 2004 is an eclectic and enthralling gathering of well-known voices and talented up-and-comers. Here are stories that probe the biggest issues&#58; ambition, gender, romance, war. Here are funny and touching and striking tales of a Spokane Indian, the estranged wife of an Iranian immigrant, an American tutor in Bombay. In her introduction Lorrie Moore writes, "The stories collected here impressed me with their depth of knowledge and feeling of character, setting, and situation . . . They spoke with amused intelligence, compassion, and dispassion."<p></p><h3>Publishers Weekly</h3><p>Moore takes a tried and true tack in this current edition of the popular series, choosing solid stories that rely more on careful character development and seamless writing than on inventiveness or stylistic flash. The results are occasionally stodgy, but there are plenty of satisfying entries, if few startling ones. Family relations are a recurring theme, and two stories of note unearth family ghosts. In John Edgar Wideman's "What We Cannot Speak About We Must Pass Over in Silence," a man is enmeshed in the life of his deceased friend's jailed son; in Trudy Lewis's "Limestone Diner," a grandmother comes to terms with her past through the tragic accident of a local girl. Most stories are firmly rooted in the U.S., but a few roam cautiously afield. In "The Tutor," set in India, Nell Freudenberger explores the dynamics of an expatriate father and daughter relationship; "Mirror Studies" by Mary Yukari Waters takes place in Japan and interestingly weaves in monkey studies. The selection favors well-known writers, including Alice Munro, Annie Proulx and John Updike, and some readers may wish for a more varied lineup-the New Yorker is the source of eight of the 20 entries-but there's no arguing with the power of most of these offerings by the heavy hitters of the contemporary canon. (Oct.) Copyright 2004 Reed Business Information.</p>

<TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What you pawn I will redeem</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tooth and claw</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Written in stone</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Accomplice</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Screenwriter</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Breasts</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Some other, better Otto</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grace</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The tutor</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A rich man</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Limestone diner</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Intervention</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gallatin Canyon</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Runaway</TD><TD WIDTH="10%" ALIGN="RIGHT">304</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All Saints Day</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What kind of furniture would Jesus pick?</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Docent</TD><TD WIDTH="10%" ALIGN="RIGHT">376</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The walk with Elizanne</TD><TD WIDTH="10%" ALIGN="RIGHT">386</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mirror studies</TD><TD WIDTH="10%" ALIGN="RIGHT">398</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What we cannot speak about we must pass over in silence</TD><TD WIDTH="10%" ALIGN="RIGHT">412</TD></TABLE>

<article> <h4>Publishers Weekly</h4>Moore takes a tried and true tack in this current edition of the popular series, choosing solid stories that rely more on careful character development and seamless writing than on inventiveness or stylistic flash. The results are occasionally stodgy, but there are plenty of satisfying entries, if few startling ones. Family relations are a recurring theme, and two stories of note unearth family ghosts. In John Edgar Wideman's "What We Cannot Speak About We Must Pass Over in Silence," a man is enmeshed in the life of his deceased friend's jailed son; in Trudy Lewis's "Limestone Diner," a grandmother comes to terms with her past through the tragic accident of a local girl. Most stories are firmly rooted in the U.S., but a few roam cautiously afield. In "The Tutor," set in India, Nell Freudenberger explores the dynamics of an expatriate father and daughter relationship; "Mirror Studies" by Mary Yukari Waters takes place in Japan and interestingly weaves in monkey studies. The selection favors well-known writers, including Alice Munro, Annie Proulx and John Updike, and some readers may wish for a more varied lineup-the New Yorker is the source of eight of the 20 entries-but there's no arguing with the power of most of these offerings by the heavy hitters of the contemporary canon. (Oct.) Copyright 2004 Reed Business Information. </article> <article> <h4>Kirkus Reviews</h4>This year's anthology of 20 stories could almost be called The Best of The New Yorker, since 40 percent of guest editor Moore's choices appeared there first. Moore calls the collection "a kind of group portrait of how humanity is currently faring," and one gets the impression that it's faring poorly in rather consistent ways, if the number of characters here who are down-in-the-dumps guys drinking too much is any indication. Sherman Alexie's homeless Spokane Indian in "What You Pawn I Will Redeem" is an alcoholic with a "busted stomach." T. Coraghessan Boyle's southern California transplant in "Tooth and Claw" is most comfortable in a bar filled with old men drinking themselves into oblivion, like his father. And Stuart Dybek's Chicago hit man in "Breasts" wakes up with a hangover on the Sunday he's supposed to "do a job." Then there's John, in Paula Fox's "Grace," a lonely accountant whose dog, Grace, gives him some way of connecting with others until she develops heartworm, resulting in his slugging down four whiskeys and deciding to order a steak. Charles D'Ambrosio's "Screenwriter," who gets a day pass from the psych ward, visits a former patient he calls the ballerina, gets drunk, takes some of her meds, and watches her burn her nipples with cigarettes and pour hot wax on her thigh. John Updike's David Kern, who uses his 50th high-school reunion to remember his first real kiss, is a quiet relief from all this, as are Alice Munro's masterful "Runaway" and the fetching homage to Munro, Trudy Lewis's "Limestone Diner." Mary Yukari Waters and John Edgar Wideman also bring welcome spaciousness, with stories about, respectively, a Japanese primate specialist adjusting to a heart conditionand memories of the war years, and a man whose search for the imprisoned son of a deceased friend opens him back to life. A familiar and ultimately disappointing selection. Short-story aficionados know by now to turn to the Pushcart anthologies for new voices. </article>

<p>Introduction</p> <p>I. Fiction</p> <p><b>Charles W. Chestnutt</b><br> Baxter's Procrustes</p> <p><b>Jean Toomer</b><br> Karintha Blood-Burning Moon</p> <p><b>Rudolph Fisher</b><br> Common Meter</p> <p><b>Arna Bontemps</b><br> A Summer Tragedy</p> <p><b>Langston Hughes</b><br> <i>Tales of Simple</i>:<br> Foreword: Who Is Simple?<br> Feet Live Their Own Life Temptation Bop Census Coffee Break Cracker Prayer Promulgations</p> <p><b>Richard Wright</b><br> The Man Who Lived Underground</p> <p><b>Ann Petry</b><br> In Darkness and Confusion</p> <p><b>Ralph Ellison</b><br> <i>Invisible Man</i> (Prologue</p> <p><b>Frank London Brown</b><br> McDougal</p> <p><b>Paule Marshall</b><br> To Da-duh, In Memoriam</p> <p><b>Diane Oliver</b><br> Neighbors</p> <p>II. Autobiography</p> <p><b>Frederick Douglass</b><br> Narrative of the Life of Frederick Douglass, An American Slave (Chapters 1, 6, 7, and 10)</p> <p><b>James Weldon Johnson</b><br> Along This Way (Selected Episodes)</p> <p><b>Richard Wright</b><br> The Ethics of Living Jim Crow</p> <p><b>J. Saunders Redding</b><br> <i>No Day of Triumph</i> (Chapter 1: Sections 1, 5, and 7)</p> <p><b>James Baldwin</b><br> Autobiographical Notes</p> <p><b>Arna Bontemps</b><br> Why I Returned</p> <p><b>Malcolm X</b><br> The Autobiography of Malcolm X (Chapter 1)</p> <p><b>Stnaley Sanders</b><br> "I'll Never Escape the Ghetto"</p> <p>III. Poetry</p> <p><b>Paul Laurence Dunbar</b><br> We Wear the Mask A Death Song Sympathy A Negro Love Song</p> <p><b>W. E. B. Du Bois</b><br> The Song of the Smoke A Litany at Atlanta</p> <p><b>James Weldon Johnson</b><br> The Creation</p> <p><b>Fenton Johnson</b><br> The Daily Grind The World Is a Mighty Ogre A Negro Peddler's Song The Old Repair Man Rulers The Scarlet Woman Tired Aunt Jane Allen</p> <p><b>Claude McKay</b><br> Baptism If We Must Die Outcast The Negro's Tragedy America The White City The White House</p> <p><b>Jean Toomer</b><br> Harvest Song Song of the Son Cotton Song Brown River, Smile</p> <p><b>Countee Cullen</b><br> Yet Do I Marvel A Song of Praise A Brown Girl Dead From the Dark Tower Incident Scottsboro, Too, Is Worth Its Song Three Epitaphs:<br> For My Grandmother For Paul Laurence Dunbar For a Lady I Know</p> <p><b>Melvin B. Tolson</b><br> An Ex-Judge at the Bar Dark Symphony Psi</p> <p><b>Frank Horne</b><br> Kid Stuff Nigger: A Chant for Children</p> <p><b>Sterling A. Brown</b><br> Sister Lou Memphis Blues Slim in Hell Remembering Nat Turner Southern Road Southern Cop The Young Ones The Ballad of Joe Meek Strong Men</p> <p><b>Arna Bontemps</b><br> A Note of Humility Gethsemane Southern Mansion My Heart Has Known Its Winter Nocturne at Bethesda A Black Man Talks of Reaping The Day-Breakers</p> <p><b>Langston Hughes</b><br> Afro-American Fragment As I Grew Older Dream Variations Daybreak in Alabama Dream Boogie Children's Rhymes Theme for English B Harlem Same in Blues Ballad of the Landlord</p> <p><b>Frank Marshall Davis</b><br> Four Glimpses of Night I Sing No New Songs Robert Whitmore Flowers of Darkness</p> <p><b>Richard Wright</b><br> Between the World and Me</p> <p><b>Robert Hayden</b><br> Tour 5<br> On the Coast of Maine Figure In Light Half Nightmare and Half Vision Market Homage to the Empress of the Blues Mourning Poem for the Queen of Sunday Middle Passage Frederick Douglass</p> <p><b>Owen Dodson</b><br> Guitar Black Mother Praying Drunken Lover The Reunion Jonathan's Song Yardbird's Skull Sailors on Leave</p> <p><b>Margaret Walker</b><br> For My People</p> <p><b>Gwendolyn Brooks</b><br> The Artist's and Models' Ball The Mother The Preacher: Ruminates Behind the Sermon The Children of the Poor We Real Cool The Chicago Defender Sends a Man to Little Rock</p> <p><b>Dudley Randall</b><br> The Southern Road Legacy: My South Booker T. and W. E. B.<br> The Idiot</p> <p><b>Lerone Bennett, Jr.</b><br> Blues and Bitterness</p> <p><b>Lance Jeffers</b><br> The Night Rains Hot Tar On Listening to the Spirituals Grief Streams Down My Chest The Unknown</p> <p><b>Naomi Long Madgett</b><br> Native Her Story Race Question</p> <p><b>Mari Evans</b><br> Coventry Status Symbol The Emancipation of George-Hector (a colored turtle)<br> My Man Let Me Pull Your Coat Black Jam for Dr. Negro</p> <p><b>Leroi Jones</b><br> Preface to a Twenty Volume Suicide Note The Invention of Comics Look for You Yesterday, Here You Come Today The Death of Nick Charles The Bridge</p> <p>IV. Literary Criticism</p> <p><b>W. E. B. Du Bois</b><br> The Souls of Black Folk (Chapters 1 and 14)</p> <p><b>Alain Locke</b><br> The New Negro The Negro in American Culture</p> <p><b>Richard Wright</b><br> How "Bigger" Was Born</p> <p><b>Sterling A. Brown</b><br> A Century of Negro Portraiture in American Literature</p> <p><b>James Baldwin</b><br> Many Thousands Gone</p> <p><b>Three Papers from the First Conference of Negro Writers (March, 1959)</b><br> 1. Arthur P. Davis: Integration and Race Literature<br> 2. J. Saunders Redding: The Negro Writer and His Relationship to His Roots<br> 3. Langston Hughes: Writers: Black and White</p> <p><b>Blyden Jackson</b><br> The Negro's Image of the Universe as Reflected in His Fiction</p> <p><b>John Henrik Clarke</b><br> The Origin and Growth of Afro-American Literature</p> <p><b>Richard G. Stern</b><br> That Same Pain, That Same Pleasure: An Interview with Ralph Ellison</p> <p><b>Dan Georgakas</b><br> James Baldwin...in Conversation</p> <p><b>Sterling Stuckey</b><br> Frank London Brown</p> <p><b>Darwin T. Turner</b><br> The Negro Dramatist's Image of the Universe, 1920-1960</p> <p><b>George E. Kent</b><br> Ethnic Impact in American Literature</p> <p><b>Clarence Major</b><br> Black Criterion</p> <p>Bibliography</p>

<p>Applause is proud to continue the series that for over 60 years has been the standard of excellence for one-act plays in America. Our editor Barbara Parisi has selected the following 14 plays&#58; A Roz by Any Other Name and Weird, by B. T. Ryback; Bricklayers Poet, by Joe Maruzzo; Laundry and Lies, by Adam Kraar; Light, by Jeni Mahoney; House of the Holy Moment, by Cary Pepper; The Disruptive, Discursive Delusions of Donald, by Michael Roderick; The Perfect Relationship, by Jill Elaine Hughes; The Hysterical Misogynist, by Murray Schisgal; The Perfect Medium, by Eileen Fischer; Outsourced, by Laura Shaine Cunningham; Elvis of Nazareth, by Jay Huling; Dead Trees, by Rick Pulos; Five Story Walkup, by Daniel Gallant, including his own play and others by John Guare, Neil LaBute, Quincy Long, Laura Shaine Cunningham, Clay McLeod Chapman, and Daniel Frederick Levin; and G.C., by Theodore Mann.</p>

While The Bronx is presently undergoing a renaissance, a mention of this borough often conjures up "Fort-Apache-the-Bronx" images of urban blight and crime. Yet for the last three hundred years, and through all its various social and economic transformations, The Bronx has been a major literary center that many prominent writers have called home. <p> This comprehensive book captures the Zeitgeist of The Bronx through the eyes of its writers -- both past literary figures and emerging talents. Lloyd Ultan and Barbara Unger place this literature in its historical context and reproduce here one hundred vintage photographs and postcard views that bring the writings to life. The resulting book provides the reader with insights into the kaleidoscopic shifts in Bronx life over the centuries. Filtered through the imaginations of authors of different times, ethnic groups, social classes, and literary styles, the borough of The Bronx emerges not only as a shaper of destinies and lives, but as an important literary mecca.</p>

<p>While The Bronx is presently undergoing a renaissance, a mention of this borough often conjures up "Fort-Apache-the-Bronx" images of urban blight and crime. Yet for the last three hundred years, and through all its various social and economic transformations/ The Bronx has been a major literary center that many prominent writers have called home.This comprehensive book captures the Zeitgeist of The Bronx through the eyes of its writers-both past literary figures and emerging talents. Lloyd Ultan and Barbara Unger place this literature in its historical context and reproduce here one hundred vintage photographs and postcard views that bring the writings to life. The resulting book provides the reader with insights into the kaleidoscopic shifts in Bronx life over the centuries. Filtered through the imaginations of authors of different times, ethnic groups, social classes, and literary styles, the borough of The Bronx emerges not only as a shaper of destinies and lives, but as an important literary mecca. <p>"I am living out of town about 13 miles/ at a village called Fordham, on the railroad leading north. We are in a snug little cottage, keeping house, and would be very comfortable, but that I have been for a long time dreadfully ill. ... I am done with drink-depend upon that. . . . When you write/ address simply 'New-York-City.'There is no Post Office at Fordham."-EDGAR ALLAN POE, from a letter excerpted in Bronx Accent&#58; A Literary and Pictorial History of the Borough. <P>Some writers included in Bronx Accent&#58; <BR> Sholem Aleichem <Br> James Baldwin <Br> James Fenimore Cooper <Br> Theodore Dreiser <Br> Washington Irving <Br> Jack Kerouac <Br> Clifford Odets<Br> Cynthia Ozick <Br> Grace Paley <Br> Edgar Allan Poe <Br> Chaim Potok <Br> Kate Simon <Br> Leon Trotsky <Br> Mark Twain <Br> Tom Wolfe <Br> Herman Wouk<Br></p><h3>Booknews</h3><p>Official Bronx Borough Historian Ultan (history, Fairleigh Dickinson U.) and poet Unger (English, Rockland Community College) assemble excerpts from known and unknown writers, and black-and-white photographs, to chronicle the history of New York City's northernmost borough from the middle of the 17th century to the present. The material is presented according to the period the writer is discussing rather than by publication date. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p>

<TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT">vii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">ix</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">Genesis: The Colonial and Revolutionary Bronx, 1639-1800</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">Out of Town: The Suburban Bronx, 1800-1898</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">"Like Country": The Urbanization of The Bronx, 1898-1919</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">A Step Up: The Bronx in Boom Times, 1919-1929</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">A Step Left: The Bronx in the Great Depression, 1929-1940</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">The Bronx Home Front: The War Years, 1936-1950</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">The Perils of Prosperity: The Bronx in the Postwar Years, 1946-1961</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">The Urban Crisis: The Bronx in the Years of Change and Unrest, 1961-1980</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">Devastation: The Bronx Is Burning, 1965-1991</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">Coping: The Bronx Endures, 1961-1988</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">The Phoenix: The Bronx Rises from the Ashes, 1975-2000</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD></TABLE>

<article> <h4>Booknews</h4>Official Bronx Borough Historian Ultan (history, Fairleigh Dickinson U.) and poet Unger (English, Rockland Community College) assemble excerpts from known and unknown writers, and black-and-white photographs, to chronicle the history of New York City's northernmost borough from the middle of the 17th century to the present. The material is presented according to the period the writer is discussing rather than by publication date. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article> <article> <h4>New York Times Book Review</h4>Gouverneur Morris fights the new American government in vain to prevent a road from cutting through his large farm. Edgar Allan Poe takes refuge in the village of Fordham, which is so isolated it has no post office. . . . Clive Campbell and Joseph Saddler are reborn as the hip-hop artists Kool Herc and Grandmaster Flash. Through such moments Lloyd Ultan and Barbara Unger tell the history of the borough in <i>Bronx Accent: A Literary and Pictorial History of the Borough</i>. . . . The result is a vibrant mix of historical and contemporary voices; at one point an excerpt from E. L. Doctorow's novel Billy Bathgate is followed by an account from Kate Simon's Bronx Primitive: Portraits in a Childhood. </article><article> <h4>New York Observer</h4>Anyone interested in urban history, in American literature or, more generally, in how people shapeùand, in turn, are shaped byùplace, will find <i>Bronx Accent</i> a fascinating book. Like some ingenious choral arrangement, the book contains scores of voices recounting, in fact and fiction, how life was lived in the Bronx from colonial times to the end of the 20th century. The authors . . . provide a well-constructed narrative that frames the story of New York City's northernmost borough. But like good straight men in a comedy act, they do an excellent job of setting things up and then stepping out of the way, leaving all the high notes to poets, novelists, letter-writers, diarists, urban scholars and journalists. Part comedy, part tragedy, part cautionary tale, the book conjures up the early years of the Bronx as a woodsy retreat from the rigors of life in the great city to the south; the Bronx heyday, which lasted from about the beginning of the last century to its mid-point; and the borough's chaotic decline and recent rise from the ashes. </article> <article> <h4>New York Post</h4>The authors take a novel approach: By placing examples of classic writing (Poe, Twain, Baldwin, Kerouac, Wolfe and Wouk, among others) and vintage photographs of da boogie down in historical context, <i>Bronx Accent</i> gives the reader unique insights into the ækaleidoscopic shifts in life in the Bronx over the centuries.'. </article> <article> <h4>Forward</h4>[Bronx Accent] celebrates its subject. The editorsùa historian who knows more about the borough than anyone living and a poet born and reared in it streetsùembrace the stubborn triumph of a Bronx now on the verge of a renaissance. . . . It is as if each writer included in the book is a friend or family, a literary Bronx meshpochah. </article> <article> <h4>Booklist</h4>Ultan and Unger chronicle the rise, fall, and rebirth of New York City's northernmost borough in fiction, nonfiction, and poetry by people who live or lived in the Bronx, or who simply chose to write about it. . . . Taken together the pieces, with additional explanatory text by the authors give a good narrative ranging from the Bronx's colonial period through the various waves of immigration and consolidation with Manhattan and the other boroughs. What's more, you get a good sense of how the many destructive forces converged to wreck the area, and how the people's stubborn spirit would not let all of their beloved neighborhoods turn to wasteland. . . . As the subtitle declares, it's also a pictorial history, and the majority of the 97 black-and-white illustrations give you a good idea of what the Bronx looked like way back in its heyday. </article> <article> <h4>Bronx Press</h4>Bronx Accent is particularly strong in explaining the twentieth century, when the population of The Bronx was at its highest and most of the writers cited resided in the borough. The book is adroitly arranged and provides hours of good and interesting reading. For $32.00, this publication of Rutgers University Press is a bargain. No where else can anyone find a survey of the Bronx past in one volume that can be so easily and enjoyably digested. </article> <article> <h4>Bronx Press-Review and the Riverdale Review</h4>The embattled Bronx and upscale Riverdale have been portrayed, analyzed and sometimes autopsied by journalists, sociologists and historians. But nobody has ever listened to its beating heart through its literatureùthe novels, stories, poetry and memoirs that capture the essence and excitement of Bronx life. Nobody has done it, that is, until now. . . . As an added bonus, the book features nearly 100 vintage photographs and postcard views, the postcards, some almost a century old. . . . Bronx Accent should have a far wider readership than just in the Bronx, since the Bronx, and writing like this, reflect so much of urban America, and its story in many ways is the story of America itself. </article> <article> <h4>Bronx County Historical Journal</h4>The book is full of insights and very readable. It does justice to the colonies and rural Bronx of the eighteenth and nineteenth centuries. However, it is especially rich in describing the twentieth-century urban scene, where there are so many different communities. . . . Ultan and Unger's work is both good history and good literature. Based on extensive research with scholarly selection of representative sources, it gives voice to the enduring spirit of The Bronx. If you would understand this place, start here. </article> <article> <h4>Jewish Journal</h4>Ultan and Unger emphasize and literary history of the Bronx, providing ample quotations to illustrate literature about the Bronx. They also have almost a hundred interesting photos. The material is organized chronologically, beginning with Jonas Bronck who, in the early 17th century, became the first European settler of the area that today bears is name. </article> <article> <h4>Roger Wines</h4>Through three hundred years, the people of the Bronx speak out about their lives, joys, tribulations, and aspirations. Lloyd Ultan and Barbara Unger's skillfully arranged anthology combines letters, diaries, memoirs, and literary sources with an insightful historical narrative. The book is particularly rich on the recent decades when the Bronx went from success to collapse and then rebirth. It is good reading and good history. </article> <article> <h4>Editor of Editors on Editing&amp;#58; What Writers Nee Gerald Gross</h4>Bronx Accent is an entertaining, surprising revelation of New York's borough of the Bronx, an unexpected center of literature where some of America's most famous authors lived, and which provided the setting and inspiration for their works. Their novels, poems, stories, and essays reveal the colorful, ever-changing history of this often underappreciated part of the city. Ultan and Unger are insightful chroniclers of the vast variety of their urban experiences. You will be delighted and astonished by the riches to be found in this literary treasure house. </article>

<p>In this exciting new collection, William Nack, veteran sportswriter and author of the classic Secretariat, honors the year’s finest sports journalism and thus upholds the tradition that began seventeen years ago, with David Halberstam at the helm. In these pages, you will find the most provocative, compelling, tragic, and triumphant moments in sports from 2007, captured by the knights of the keyboard who make sports come alive for us day after day, week after week, year after year.<br> Here you’ll find Paul Solotaroff’s excellent and uncompromising take on the neglect that a growing number of crippled NFL players continually face from the NFL players’ union. Jeanne Marie Laskas’s “G-L-O-R-Y!” offers a rousing inside look at the pregame rituals of the Cincinnati Bengals cheerleaders. A riveting online diary by Wright Thompson reveals a bleak and merciless landscape in China, which that country’s government would rather not have the world see during preparations for the Olympics.<br> Nack finds a place for the fascinating offbeat story as well as the sensational. Alongside Eli Saslow’s captivating article about an obscure seventeenth-century sport, similar to a giant rugby scrum, carried out in the streets of Kirkwall, Scotland, stands Franz Lidz’s “scoop of the year,” a controversial and rare look into the life of George Steinbrenner, baseball’s largest but recently most enigmatic figure.<br> This year’s collection marks another wonderful addition to “one of the most consistently satisfying titles in the Best American series” (Booklist).<br> Contributors include Scott Price, Rick Bragg, Gary Smith, J.R. Moehringer, and others.</p>

<p><p>In this exciting new collection, William Nack, veteran sportswriter and author of the classic Secretariat, honors the year s finest sports journalism and thus upholds the tradition that began seventeen years ago, with David Halberstam at the helm. In these pages, you will find the most provocative, compelling, tragic, and triumphant moments in sports from 2007, captured by the knights of the keyboard who make sports come alive for us day after day, week after week, year after year. Here you ll find Paul Solotaroff s excellent and uncompromising take on the neglect that a growing number of crippled NFL players continually face from the NFL players union. Jeanne Marie Laskas s G-L-O-R-Y! offers a rousing inside look at the pregame rituals of the Cincinnati Bengals cheerleaders. A riveting online diary by Wright Thompson reveals a bleak and merciless landscape in China, which that country s government would rather not have the world see during preparations for the Olympics. Nack finds a place for the fascinating offbeat story as well as the sensational. Alongside Eli Saslow s captivating article about an obscure seventeenth-century sport, similar to a giant rugby scrum, carried out in the streets of Kirkwall, Scotland, stands Franz Lidz s scoop of the year, a controversial and rare look into the life of George Steinbrenner, baseball s largest but recently most enigmatic figure. This year s collection marks another wonderful addition to one of the most consistently satisfying titles in the Best American series (Booklist). Contributors include Scott Price, Rick Bragg, Gary Smith, J.R. Moehringer, and others.</p></p>

<p>“Astonishing in its impact. . . . One of the treasured nights in the theatre that can leave you both breathless with exhilaration and, depending on your sensitivity to meditations on the bleak and beautiful mysteries of human experience, in a puddle of tears . . . <i>Thom Pain</i> is at bottom a surreal meditation on the empty promises life makes, the way experience never lives up to the weird and awesome fact of being. But it is also, in its odd, bewitching beauty, an affirmation of life’s worth.”—Charles Isherwood, <i>The New York Times</i></p> <p>“Eno has emerged as one of the most original young playwrights on the scene. He is one of the few writers who can convert discomfort and outright agony into such pleasure.”—David Cote, <i>TimeOut New York</i></p> <p>“Will Eno is one of the finest younger playwrights I’ve come across in a number of years. His work is inventive, disciplined and, at the same time, wild and evocative.”—Edward Albee</p> <p>When Will Eno’s one-person play <i>Thom Pain</i> opened in New York in February 2005, it became something rare—an unqualified <i>hit</i>, which soon extended through July. Before that, the play was a critical success in London and received the coveted Fringe First Award at the Edinburgh Festival. Dubbed “stand-up existentialism” by <i>The New York Times</i>, it is lyrical and deadpan, both sardonic and sincere. It is Thom Pain—in the camouflage of the common man—fumbling with his heart, squinting into the light.</p> <p><b>Will Eno</b> lives in Brooklyn, New York. His plays include <i>The Flu Season</i>, <i>Tragedy: a tragedy</i>, <i>King: a problem play</i>, and <i>Intermission</i>. His plays have been produced in London by the Gate Theatre and BBC Radio, and in the United States by Rude Mechanicals and Naked Angels. His play <i>The Flu Season</i> recently won the Oppenheimer Award, presented by <i>NY Newsday</i> for the previous year’s best debut production in New York by an American playwright.</p>

<article> <h4>NY Times</h4>Astonishing in its impact...It's one of those treasured nights in the theatre—treasured nights anywhere, for that matter—that can leave you both breathless with exhilaration and, depending on your sensitivity to meditations on the bleak and beautiful mysteries of human experience, in a puddle of tears. Also in stitches, here and there. Mr. Eno is a Samuel Beckett for the John Stewart generation...To sum up the more or less indescribable: THOM PAIN is at bottom a surreal meditation on the empty promises life makes, the way experience never lives up to the weird and awesome fact of being. But it is also, in its odd, bewitching beauty, an affirmation of life's worth...a small masterpiece. </article> <article> <h4>Time Out</h4>Eno has emerged as one of the most original young playwrights on the scene. He is one of the few writers who can convert discomfort and outright agony into such pleasure. </article><article> <h4>London Daily Telegraph</h4>It's hard to imagine more dazzling writing on any stage...Eno is light, rhythmic and meticulous. </article>

<p><b>Black poets from the early twentieth century and onward come together for a moving anthology, edited and organized by the late, revered poet June Jordan.<br> </b><br> First published in 1970, <i>soulscript</i> is a poignant, panoramic collection of poetry from some of the most eloquent voices in the art. Selected for their literary excellence and by the dictates of Jordan’s heart, these works tell the story of both collective and personal experiences, in Jordan’s words, “in tears, in rage, in hope, in sonnet, in blank/free verse, in overwhelming rhetorical scream.”<br> <i>Soulscript</i> features works by Jordan and other luminaries like Gwendolyn Brooks, Countee Cullen, Paul Laurence Dunbar, Nikki Giovanni, Langston Hughes, Gayl Jines, James Weldon Johnson, Audre Lorde, Claude McKay, Ishmael Reed, Sonia Sanchez, and Richard Wright, as well as the fresh voices of a turbulent era’s younger writers. Celebrated spoken-word poet Staceyann Chin, an original cast member of <i>Def Poetry Jam on Broadway</i>, has also added an introduction that speaks to Jordan’s legacy, helping to further cement <i>soulscript</i> as a visionary compilation that has already become a modern classic.</p>

<p class="null1">MY PEOPLE by Langston Hughes</p> <p>The night is beautiful,<br> So the faces of my people.</p> <p>The stars are beautiful,<br> So the eyes of my people.</p> <p>Beautiful, also, is the sun.<br> Beautiful, also, are the souls of my people.</p> <p class="null1">UNCLE BULL-BOY by June Jordan</p> <p>His brother after dinner once a year would play the piano short and tough in white shirt plaid suspenders green tie and checked trousers.<br> Two teeth were gold. His eyes were pink with alcohol. His fingers thumped for Auld Lang Syne.<br> He played St. Louis Woman Boogie, Blues, the light pedestrian.</p> <p>But one night after dinner after chitterlings and pigs' feet after bourbon and rum and rye after turnip greens and mustard greens and sweet potato pie Bullboy looking everywhere realized his brother was not there.</p> <p>Who would emphasize the luxury of ice cream by the gallon who would repeat effusively the glamour not the gall of five degrees outstanding on the wall?<br> Which head would nod and then recall the crimes the apples stolen from the stalls the soft coal stolen by the pile?<br> Who would admire the eighteenth pair of forty dollar shoes?<br> Who could extol their mother with good brandy as his muse?</p> <p>His brother dead from drinking Bullboy drank to clear his thinking saw the roach inside the riddle.<br> Soon the bubbles from his glass were the only bits of charm which overcame his folded arms.</p> <p><b>AMERICAN GOTHIC by Paul Vesey</b><br> <i>To Satch<br> (The legendary Satchel Page, one of the star pitchers in Negro baseball)</i></p> <p>Sometimes I feel like I will <i>never</i> stop Just go on forever Til one fine mornin'</p> <p>I'm gonna reach up and grab me a handfulla stars Swing out my long lean leg And whip three hot strikes burnin' down the heavens And look over at God and say How about that!</p>

<p><P><b>Black poets from the early twentieth century and onward come together for a moving anthology, edited and organized by the late, revered poet June Jordan. <br></b><br>First published in 1970, <i>soulscript</i> is a poignant, panoramic collection of poetry from some of the most eloquent voices in the art. Selected for their literary excellence and by the dictates of Jordan&#8217;s heart, these works tell the story of both collective and personal experiences, in Jordan&#8217;s words, &#8220;in tears, in rage, in hope, in sonnet, in blank/free verse, in overwhelming rhetorical scream.&#8221; <br><i>Soulscript </i>features works by Jordan and other luminaries like Gwendolyn Brooks, Countee Cullen, Paul Laurence Dunbar, Nikki Giovanni, Langston Hughes, Gayl Jines, James Weldon Johnson, Audre Lorde, Claude McKay, Ishmael Reed, Sonia Sanchez, and Richard Wright, as well as the fresh voices of a turbulent era&#8217;s younger writers. Celebrated spoken-word poet Staceyann Chin, an original cast member of <i>Def Poetry Jam on Broadway</i>, has also added an introduction that speaks to Jordan&#8217;s legacy, helping to further cement <i>soulscript </i>as a visionary compilation that has already become a modern classic.</p><h3>Library Journal</h3><p>Assembled by editor Jordan in 1970, this anthology includes works by Langston Hughes, Gwendolyn Brooks, Richard Wright, Nikki Giovanni, and numerous others. The poems are divided into multiple categories such as Tomorrow Words Today, Black Eyes on a Fallowland, and Attitudes of the Soul. Good stuff. Copyright 2004 Reed Business Information.</p>

<TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reflections</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Monument in black</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foxey lady</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Epilogue</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I am waiting</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">April 4, 1968</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Death prosecuting</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No way out</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hands</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The air is dirty</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dedication to the final confrontation</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tripart</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Many die here</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Satori</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My people</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother to son</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fruit of the flower</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Those winter Sundays</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nikki-Rosa</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The bean eaters</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the birth of my son, Malcolm Coltrane</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Award</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Five winters age</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Uncle Bull-boy</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To my son Parker, asleep in the next room</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song of the Son</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface to a twenty volume suicide note</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blues note</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At that moment (for Malcolm X)</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Runagate runagate</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Frederick Douglass</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Malcolm X - an autobiography</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In time of crisis</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The ballad of Rudolph Reed</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blind and deaf old woman</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After winter</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Holyghost woman : an ole nomad moving thru the South</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Second Avenue encounter</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If you saw a Negro lady</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ameican gothic</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Counterpoint</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The creation</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reapers</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beware : do not read this poem</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mud in Vietnam</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">lXVXII</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Of faith : confessional</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brown river, smile</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The end of man is his beauty</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">As a possible lover</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This age</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sonnet</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Madhouse</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Number 5 - December</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Naturally</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Summer Oracle</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Iron years : for money</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Off d pig</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A poem looking for a reader</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moonlight moonlight</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coal</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Air</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The distant drum</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It's here in the</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This morning</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Georia dusk</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Louisiana weekly #4</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Right on : white America</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rhythm is a groove (#2)</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Now, all you children</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Incident</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From riot rimes : USA</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From 26 ways of looking at a blackman</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Riot laugh & I talk</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I substitute for the dead lecturer</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I have seen black hands</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In memoriam : Rev. Martin Luther King, Jr. (part one)</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Motto</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The White House</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">O Daedalus, fly away home</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">November cotton flower</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I know I'm not sufficiently obscure</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sorrow is the only faithful one</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Agony. As now</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Midway</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One thousand nine hundred & sixty - eight winters</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yet do I marvel</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dream variation</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We have been believers</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nocturne varial</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the dark tower</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We wear the mask</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If we must die</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD></TABLE>

<article> <h4>Library Journal</h4>Assembled by editor Jordan in 1970, this anthology includes works by Langston Hughes, Gwendolyn Brooks, Richard Wright, Nikki Giovanni, and numerous others. The poems are divided into multiple categories such as Tomorrow Words Today, Black Eyes on a Fallowland, and Attitudes of the Soul. Good stuff. Copyright 2004 Reed Business Information. </article>

<i>Out of Her Mind</i>, edited by Rebecca Shannonhouse, captures the best literature by and about women struggling with madness. A remarkable chronicle of gifted and unconventional women who have spun their inner turmoil into literary gold, the collection features classic short stories, breathtaking literary excerpts, key historical writings, and previously unpublished letters by Zelda Fitzgerald. <p>Shannonhouse’s recent anthology, <i>Under the Influence: The Literature of Addiction</i>, is also available as a Modern Library Paperback Original.</p>

A century ago, in a genteel neighborhood of Montgomery, Alabama, a child was born who would eventually embody the freewheeling spirit of the 1920s flapper. Lavish and impulsive, Zelda Fitzgerald offered an alluring mix of privilege and melodrama to complement her young novelist husband, E Scott Fitzgerald. The couple stormed through the New York and Paris party circuits, cutting a lasting image of beauty and flamboyance. He produced great works of literature; she wrote fiction and essays, painted, and dreamed of being a dancer. Before she turned thirty, however, Zelda's life would take an abrupt turn as she experienced the first of several mental breakdowns. To those who knew her, the great American flapper had slipped behind a veil of madness. <p>Like Zelda Fitzgerald, generations of other gifted, unconventional, and tormented women have seen their lives eclipsed by mental illness. They have suffered from depression, schizophrenia, manic depression, and other psychological disorders. Their life ambitions have been derailed by illnesses that bring sadness, delusions, and fears leaving one, as Zelda once described herself, "heart-broken, grief-stricken, spiritually sick."</p> <p>Other talented, outlandish women have been labeled "mad" simply for defying societal norms. They are the ones, in the not too distant past, who were considered lunatics for rejecting their socially imposed roles as homemakers. They are the ones who were dragged to institutions for disagreeing with their husbands about religion. They are the ones, like Ann Hopkins, the seventeenth-century politician's wife, who, according to one observer, became insane after "giving herself wholly to reading and writing."</p> <p>So what is "madness"? When is it mental illness? Or when is it the circumstances of a woman's life driving her "out of her mind"? These are the fundamental questions that first inspired this anthology. In looking for answers, my instincts guided me to literature and history. Ever since I first read about Zelda Fitzgerald some twenty years ago, her life has felt unresolved to me, like a stranded traveler in the back of my mind. Was she destined to be mentally ill, or was she overshadowed by her marriage, driven mad by her unfulfilled aspirations?</p> <p>My purpose in creating this anthology was twofold: to compile selections from the writings of Zelda Fitzgerald and other twentieth century women, such as Sylvia Plath, Susanna Kaysen, Kate Millett, and Lauren Slater, who have so deftly rendered their psychological turmoil in American literature; and to track down the other troubled, often misunderstood women whose forgotten writings on madness were buried, I suspected, somewhere on library shelves or confined to aging reels of microfilm.</p> <p>At Princeton University, I read volumes of Zelda's manuscripts and letters, most of them composed in her brash, big-looped handwriting. While reviewing her lifetime of correspondence, I happened upon unpublished letters written during one of her many hospitalizations. Four of those letters are published here for the first time.</p> <p>At other libraries, I began to unearth historical selections-many of them out of print-including an 1896 essay titled "Confessions of a Nervous Woman"; an 1887 expose describing how the famed journalist Elizabeth Cochrane, better known as Nellie Bly, feigned insanity to investigate a mental institution; and an 1873 account by Elizabeth Parsons Ware Packard, whose husband had her committed after she publicly challenged his beliefs. For historical context, I turned to the reportage of another Victorian stalwart, the social reformer Dorothea Dix, who, though she was not mad, single-handedly recounted the abuse of mentally ill women in several states.</p> <p>During my searches, I came across other harrowing pieces of history. There were tales from the Middle Ages, detailing how those suffering from mental illness were considered lepers and sent away to remote countrysides or warehoused on a "Ship of Fools." Other stories spoke of public whippings and barred windows that allowed passers-by to observe mad men and women shackled by chains. To represent this period, I have included an excerpt from The Book of Margery Kempe, which tells of the violent mental collapse of a medieval mystic.</p> <p>Digging through old books and journals also confirmed the uniqueness of women's experiences in the world of mental illness. The notion of "hysteria," which some people once linked to witchcraft, had overtaken the public consciousness by the nineteenth century. With that came a preoccupation with the female reproductive system-the uterus, in particular, the Greek name for which gives us the word "hysteria"-which dictated many of the medical profession's misguided attempts to cure this broad, undefinable category of mental conditions. In the medical literature of the late 1800s, one can easily find references to gynecological procedures, such as removal of the ovaries or even cauterization of the clitoris, which doctors performed on their hysterical patients. Perhaps no other piece of writing embodies this era of oppression and medical injustice better than Charlotte Perkins Gilman's classic short story "The Yellow Wallpaper," which also is included in the collection.</p> <p>Along the way, I read a great deal about the doctors who hoped to cure the so-called menace of hysteria. Yet I was struck by the icy tone of one in particular, Dr. Edward C. Mann, who in the 1880s wrote about hysteria in a medical journal: "The mental condition of a woman with hysteria is somewhat peculiar," he explained. "The patient, when the hysterical feelings come upon her, does not feel disposed to make the slightest effort to resist them, and yields to her emotions, whatever they may be. She will laugh or cry on the slightest provocation, and is very nervous and excitable. She cares nothing for her duties and seemingly takes pleasure in exaggerating all her slight discomforts and annoyances, and by her suspicious exacting and unreasonable behavior makes life generally uncomfortable to those about her."</p> <p>Perhaps no one professed to know more about unraveling mental chaos, though, than the Viennese neurologist who staked claim to the patient's unexplored dreams and fertile unconscious. Building from his studies of hysteria, Sigmund Freud introduced psychoanalysis at the turn of the century as a means of understanding neuroses. After implicating the lasting psychological impact of childhood traumas, he fathered the era of "talk therapy," which many authors have mined for its rich drama.</p> <p>While reading Sylvia Plath's devastating account of a doctor-patient therapeutic relationship in The Bell&nbsp;&nbsp;Jar, Dr. Mann's coarse statements about hysteria and Dr. Freud's theories of mental suffering seem to echo behind her prose. I had imagined a kind, ugly, intuitive man looking up and saying 'Ah!' in an encouraging way, as if he could see something I couldn't, and then I would find words to tell him how I was so scared, as if I were being stuffed farther and farther into a black, airless sack with no way out," wrote Plath. "But Doctor Gordon wasn't like that at all. He was young and good-looking, and I could see right away he was conceited.... The whole time I was talking, Doctor Gordon bent his head as if he were praying, and the only noise apart from the dull, flat voice was the tap, tap, tap of Doctor Gordon's pencil at the same point on the green blotter, like a stalled walking stick."</p> <p>Not long after patients were encouraged to talk about their mental distress, the medical establishment adopted more extreme measures, such as electroshock therapy (EST), insulin therapy, and the lobotomy. For women whose mental illnesses defied medical doctrine, doctors increasingly prescribed massive surges of electrical currents delivered to the brain,-Iarge doses of insulin to induce convulsions, or, for seemingly hopeless cases, a surgical operation to sever nerve pathways in the frontal lobes of the cerebrum. Mary Jane Ward's popular novel The Snake Pit and New Zealand writer Janet Frame's Faces in the Water are excerpted in this collection to portray the ominous world of EST during its early years of use.</p> <p>The venue of such therapy was typically the dreaded asylum, where generations of women have gained ' or lost their sanity, depending on one's viewpoint. At the urging of doctors, family members delivered the mentally ill to these austere institutions with the intention of rejuvenating the mind and spirits of those who could not find solace in their homes. Sadly, many asylums quickly gained a stronger reputation for the horror of their locked wards and punishing regimens than for the effectiveness of their institutional care. Like Zelda Fitzgerald's letters, The Loony-Bin Trip by Kate Millett captures the monotony and crushing isolation of day-to-day existence in a mental institution.</p> <p>By the time I closed in on the I latter part of the twentieth century, it was clear that mental illness had become inextricably tied to a vast array of prescription drugs. While some of these drugs are still delivered forcibly to women in institutions, others, such as Valium, Xanax, Paxil, and Prozac, to name just a few, are consumed eagerly by legions of devotees. To address some of the resulting philosophical questions about the influence of chemicals on one's true personality, the essays "Black Swans" by Lauren Slater and "Thorazine Shuffle" by the film-maker Allie Light have been included in the collection.</p> <p>Other questions-big, eternal ones about the meaning of insanity-appear as themes in many of the works excerpted here, such as the anonymously written Autobiograpby of a Schizophrenic Girl and Girl, Interrupted by Susanna Kaysen. In her memoir, Kaysen describes the onset of madness: "Experience is thick. Perceptions are thickened and dulled. Time is slow, dripping slowly through the clogged filter of thickened perception. The body temperature is low. The pulse is sluggish. The immune system is half-asleep. The organism is torpid and brackish. Even the reflexes are diminished, as if the lower leg couldn't be bothered to jerk itself out of its stupor when the knee is tapped."</p> <p>The issue of family also asserts itself time and time again in these writings. In contemporary stories and histories alike, relatives existed as diminished, shattered figures beside the raging force of mania, despair, or paranoia. What are the experiences of those who cannot escape the heat of mental illness? What is the psychological toll of caring for someone who is emotionally troubled? The Woman Warrior by Maxine Hong Kingston and "Isolation" by Martha Ellen Hughes search for answers to these questions while also penetrating some of the family myths that shroud madness in so many cultures. In other excerpts, such as those from Signe Hammer's By Her Own Hand and Linda Gray Sexton's Searching for Mercy Street, the mother-daughter bond, and its attendant conflicts, is seen through the prism of suicide.</p> <p>In addition to the distinct psychiatric conditions, such as schizophrenia and obsessive-compulsive disorder, that are represented in the anthology, I felt that it was important to present a few selections about depression, the mental illness that affects nearly twice as many women as men. In the collection, excerpts from The Beast by Tracy Thompson and Willow Weep for Me by Meri Nana-Ama Danquah express the numbing sorrow and emptiness of the disorder that both writers and clinicians refer to as the "common cold" of mental illness. In her memoir, Danquah wrote: "Depression offers layers, textures, noises. At times depression is as flimsy as a feather, barely penetrating the surface of my life, hovering like a slight halo of pessimism. Other times it comes on gradually like a common cold or a storm, each day presenting new signals and symptoms until finally I am drowning in it. Most times, in its most superficial and seductive sense, it is rich and enticing. A field of velvet waiting to embrace me. It is loud and dizzying, inviting the tenors and screeching sopranos of thoughts, unrelenting sadness, and the sense of impending doom."</p> <p>Though many of the writers whose work is included here have been widely read, their nonfictional and fictional accounts of mental illness have not been collected in a single volume. The scholar Troy Porter has written extensively about the history of madness in a number of books, including The Greatest Benefit to Mankind and A Social History of Madness. The institutionalization of women has been documented in Dr. Jeffrey L. Geller and psychologist Maxine Harris's wonderful collection Women of the Asylum. And feminist psychologist Phyllis Chesler has eloquently indicted the oppressive clinical tradition that has prevailed for so many years in her classic, Madness and Women. Yet the general topic of madness in women has not been addressed in a literary and historical collection, only in individual novels, essays, memoirs, and articles. With this anthology, I hope to create a collective voice that will speak for the mentally ill women who have so frequently been cast aside for their "otherness."</p> <p>In researching this book, I also encountered a number of delightful women whose circumstances surrounding their madness were more remarkable than their writings. I have not included their work in the collection but offer two such remarkable stories here:</p> <p>In 1890, a brazen 41-year-old known as Andrew M. Sheffield, who cursed and defied the conventions of feminine propriety, was committed to an Alabama mental asylum. An addict and an alleged arsonist who had an affair with a man who supplied her with drugs, she corresponded with a succession of governors in hopes of being moved to a prison. For thirty years, she was unsuccessful in her efforts and eventually died at the hospital. Her correspondence is published in The Letters of a Victorian Madwoman, edited by John S. Hughes.</p> <p>Another Victorian eccentric was an Englishwoman named Georgina Weldon, whose husband tried to have her committed after learning that she believed her dead mother had been reincarnated as a pet rabbit, a claim that these days might win her a lucrative book contract and a place on the bestseller lists. However, by locking herself in the house and disguising herself as a nun so she could safely leave the premises, Weldon escaped from an alienist who had been instructed to escort her to an asylum. Her experiences eventually played a part in the reform of insanity laws, and in 1878 she published The History of my Orphanage or the Outpourings of an Alleged Lunatic.</p> <p>In 1999, well over a century after Weldon eluded the asylum, the White House sponsored its first-ever conference on mental health. At that gathering, Tipper Gore referred to mental illness as the "last great stigma of the twentieth century." Though it is debatable how far society has advanced in its treatment of those who, seemingly at random, have been besieged by madness, it is clear that there is an important body of literature that can reveal to others the largely private world of emotional suffering. The writers whose works are collected in this anthology not only represent creative, romanticized women, like Zelda Fitzgerald, Sylvia Plath, and so many others, but also, in a sense, the silent, anonymous ones who, for generations, have existed behind harsh, impersonal statistics of mental illness. It is my hope that, with this book, their stories will also be told.</p> <p class="null1">From the Hardcover edition.</p>

<p><P><i>Out of Her Mind</i>, edited by Rebecca Shannonhouse, captures the best literature by and about women struggling with madness. A remarkable chronicle of gifted and unconventional women who have spun their inner turmoil into literary gold, the collection features classic short stories, breathtaking literary excerpts, key historical writings, and previously unpublished letters by Zelda Fitzgerald.<P>Shannonhouse&#8217;s recent anthology, <i>Under the Influence&#58; The Literature of Addiction</i>, is also available as a Modern Library Paperback Original.</p><h3>Library Journal</h3><p>This somewhat uneven collection by freelance writer Shannonhouse focuses not on the experience of mental illness but rather on descriptions of those experiences (both first-and secondhand) written by women, making the subject matter fairly unique. The time span of the 21 brief selections is impressive (1436-1999); however, almost two-thirds of the writings are from the last half of the 20th century. The wide range of work includes arresting first-person descriptions of mental illness and the equally riveting 1843 testimony of Dorothea Dix on the conditions of Massaschusetts insane assylums. Unfortunately, this collection also includes material such as four rather benign letters by Zelda Fitzgerald (published here for the first time) in which she describes "picnic suppers' and "idyllic days" spent at Highland Hospital. Although sufficient for casual reading, a topic this intriguing deserves more thorough treatment. Recommend for larger public and academic collections.-Angela M. Weiler, SUNY Libs., Morrisville</p>

<TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Book of Margery Kempe</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "On Behalf of the Insane Poor"</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Modern Persecution, or Insane Asylums Unveiled</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Ten Days in a Mad-House, or Nellie Bly's Experiences on Blackwell's Island</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Yellow Wallpaper"</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Confessions of a Nervous Woman"</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Snake Pit</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Autobiography of a Schizophrenic Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Faces in the Water</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Bell Jar</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Woman Warrior</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Loony-Bin Trip</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from By Her Own Hand</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Girl, Interrupted</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Searching for Mercy Street</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Beast</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "Black Swans"</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Willow Weep for Me</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Isolation"</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Thorazine Shuffle"</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Better Place to Live"</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes About the Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD></TABLE>

<article> <h4>Library Journal</h4>This somewhat uneven collection by freelance writer Shannonhouse focuses not on the experience of mental illness but rather on descriptions of those experiences (both first-and secondhand) written by women, making the subject matter fairly unique. The time span of the 21 brief selections is impressive (1436-1999); however, almost two-thirds of the writings are from the last half of the 20th century. The wide range of work includes arresting first-person descriptions of mental illness and the equally riveting 1843 testimony of Dorothea Dix on the conditions of Massaschusetts insane assylums. Unfortunately, this collection also includes material such as four rather benign letters by Zelda Fitzgerald (published here for the first time) in which she describes "picnic suppers' and "idyllic days" spent at Highland Hospital. Although sufficient for casual reading, a topic this intriguing deserves more thorough treatment. Recommend for larger public and academic collections.-Angela M. Weiler, SUNY Libs., Morrisville </article>

<p><P>This book contains selections from Volumes I and II of the Anthology of American Literature, Seventh Edition. Carefully selected works introduce readers to America&#39;s literary heritage, from the colonial times of William Bradford and Anne Bradstreet to the contemporary era of Saul Bellow and Toni Morrison.<p>It provides a wealth of additional contextual information surrounding the readings as well as the authors themselves. An expanded chronological chart and interaction time line help readers associate literary works with historical, political, technological, and cultural developments. Other coverage includes a continued emphasis on cultural plurality, including the contributions to the American literary canon made by women and minority authors, and a reflection of the changing nature of the canon of American Literature.<p>For anyone who likes to read the writings of American Literature&ndash;and wants to understand the connection between those words and their place in American history.</p>

<P>THE LITERATURE OF COLONIAL AMERICA. <p>Christopher Columbus (1451&mdash;1506). <p>Columbus&#39;s Letter Describing His First Voyage.<p>FROM The Diario of Christopher Columbus&#39;s First Voyage to America&#58;<p>Thursday 11 October 1492.<p>Sunday 14 October 1492.<p>Captain John Smith (1580&mdash;1631). <p>FROM The General History of Virginia<p>The Third Book.<p>Powhatan&#39;s Discourse of Peace and War.<p>Native American Voices I. <p>Myths and Tales.<p>How the World Began.<p>How the World Was Made.<p>The Beginning of Summer and Winter.<p>The Gift of the Sacred Pipe.<p>Thunder, Dizzying Liquid, and Cups That Do Not Grow.<p>William Bradford (1590&mdash;1657). <p>FROM Of Plymouth Plantation.<p>FROM Bradford on the Rise of Protestantism<p>FROM Chapter III, Of Their Settling in Holland, and Their Manner of Living. . .<p>FROM Chapter IV, Showing the Reasons and Causes of Their Removal.<p>FROM Chapter VII, Of Their Departure from Leyden. . .<p>FROM Chapter IX, Of Their Voyage. . .<p>FROM Chapter X, Showing How They Sought Out a Place of Habitation. .<p>FROM Chapter XI [The Mayflower Contract].<p>FROM Chapter XII [Narragansett Threat].<p>FROM Chapter XIV [Ending of the &#39;Common Course . . . ]<p>FROM Chapter XXVIII [War with the Pequots].<p>FROM Chapter XXXVI [Winslow Abandons the Plymouth Colony].<p>John Winthrop (1588&mdash;1649). <p>FROM The Journal of John Winthrop.<p>The Bay Psalm Book (1640). <p>FROM The Bay Psalm Book.<p>The New England Primer (c. 1683). <p>FROM The New England Primer.<p>Anne Bradstreet (1612&mdash;1672). <p>The Prologue.<p>Contemplations.<p>The Flesh and the Spirit.<p>The Author to Her Book.<p>Before the Birth of One of Her Children.<p>To My Dear and Loving Husband.<p>A Letter to Her Husband Absent Upon Public Employment<p>In Reference to Her Children, 23 June, 1659<p>In Memory of My Dear Grandchild Elizabeth Bradstreet<p>On My Dear Grandchild Simon Bradstreet. . .<p>[On Deliverance] from Another Sore Fit.<p>Upon the Burning of our House, July 10, 1666<p>As Weary Pilgrim.<p>FROM Meditations Divine and Moral.<p>Edward Taylor (c. 1642&mdash;1729). <p>Prologue.<p>FROM Preparatory Meditations.<p>The Reflexion.<p>Meditation 6 (First Series).<p>Meditation 8 (First Series).<p>Meditation 38 (First Series).<p>Meditation 39 (First Series).<p>Meditation 150 (Second Series).<p>FROM God&#39;s Determinations.<p>The Preface.<p>The Joy of Church Fellowship Rightly Attended.<p>Upon a Spider Catching a Fly.<p>Huswifery.<p>The Ebb and Flow.<p>A Fig for Thee Oh! Death.<p>Samuel Sewall (1652&mdash;1730). <p>FROM The Diary of Samuel Sewall.<p>Mary Rowlandson (c 1637&mdash;1711). <p>FROM A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson.<p>William Byrd II (1674&mdash;1744). <p>FROM The Secret Diary of William Byrd of Westover, 1709-1712.<p>Jonathan Edwards (1703&mdash;1758). <p>Sarah Pierrepont.<p>Sinners in the Hands of an Angry God.<p>FROM Images or Shadows of Divine Things.<p>THE LITERATURE OF THE EIGHTEENTH CENTURY. <p>Benjamin Franklin (1706&mdash;1790). <p>FROM The Autobiography.<p>Michel-Guillaume-Jean de Cr&eacute;vecoeur (1735&mdash;1813). <p>FROM Letters from an American Farmer.<p>Letter III (What Is an American?).<p>Letter IX (Description of Charleston . . .).<p>Thomas Paine (1737&mdash;1809). <p>FROM Common Sense.<p>FROM The American Crisis.<p>Thomas Jefferson (1743&mdash;1826). <p>The Declaration of Independence.<p>FROM Notes on the State of Virginia.<p>FROM Query V&#58; Cascades.<p>FROM Query VI&#58; Productions Mineral, Vegetable and Animal.<p>FROM Query XVII&#58; Religion.<p>FROM Query XVIII&#58; Manners.<p>FROM Query XIX&#58; Manufactures.<p>To James Madison.<p>To John Adams.<p>The Federalist (1787&mdash;1788).<p>The Federalist No.10.<p>The Federalist No.51.<p>Phillis Wheatley (1754?&mdash;1784). <p>On Virtue.<p>To the University of Cambridge, in New England.<p>On Being Brought from Africa to America.<p>On Imagination.<p>To S.M. A Young African Painter, On Seeing His Works. Recollection.<p>To His Excellency General Washington.<p>Philip Freneau (1752&mdash;1832). <p>The Power of Fancy.<p>The Hurricane.<p>To Sir Toby.<p>The Wild Honey Suckle.<p>The Indian Burying Ground. On<p>On the Universality and Other Attributes of the God of Nature.<p>Hannah Webster Foster (1758-1840)<p>FROM The Coquette, &ldquo;Letters LXV-LXXIV [the seduction, decline, and death of Eliza Wharton]&rdquo;<p>William Bartram (1739-1823)<p>FROM Travels through North and South Carolina. . .<p>Native American Voices II. <p>FROM A Son of the Forest.<p>FROM Crashing Thunder. . .<p>FROM Story of the Indian.<p>FROM Pawnee Hero Stories. Legend of the Snake Order&hellip;.<p>When the Coyote Married the Maiden.<p>The Creation of the Horse.<p>Poems.<p>Orations.<p>THE AGE OF ROMANTICICSM <p>WashingtonIrving (1783&mdash;1859). <p>FROM A History of New York, by Diedrich Knickerbocker.<p>FROM The Sketch-Book of Geoffrey Crayon, Gent.<p>The Author&#39;s Account of Himself.<p>Rip Van Winkle.<p>The Legend of Sleepy Hollow.<p>James Fenimore Cooper (1789&mdash;1851). <p>Preface to the Leather-Stocking Tales.<p>FROM The Deerslayer.<p>FROM The Pioneers.<p>William Cullen Bryant (1794&mdash;1878). <p>Thanatopsis.<p>To a Waterfowl.<p>To Cole, the Painter, Departing for Europe.<p>To the Fringed Gentian.<p>The Prairies.<p>Abraham Lincoln.<p>Edgar Allan Poe (1809&mdash;1849). <p>Sonnet&ndash;To Science.<p>To Helen.<p>The City in the Sea.<p>Sonnet&ndash;Silence.<p>Lenore.<p>The Raven.<p>Annabel Lee<p>Ligeia.<p>The Fall of the House of Usher.<p>The Purloined Letter.<p>FROM &ldquo;Twice-Told Tales, by Nathaniel Hawthorne&rdquo; [A Review].<p>The Philosophy of Composition.<p>Ralph Waldo Emerson (1803&mdash;1882). <p>Nature.<p>The American Scholar.<p>Self-Reliance.<p>The Rhodora.<p>Each and All.<p>Concord Hymn.<p>The Problem.<p>Ode.<p>Hamatreya.<p>Give All to Love.<p>Days.<p>Brahma.<p>Nathaniel Hawthorne (1804&mdash;1864). <p>Young Goodman Brown.<p>The Minister&#39;s Black Veil.<p>The Birth-Mark.<p>Herman Melville (1819&mdash;1891). <p>Bartleby, the Scrivener.<p>Benito Cereno.<p>The Paradise of Bachelors and the Tartarus of Maids.<p>The Portent.<p>Shiloh.<p>Malvern Hill.<p>The College Colonel.<p>The &AElig;olian Harp.<p>The Tuft of Kelp.<p>The Maldive Shark.<p>The Berg.<p>Art.<p>Greek Architecture.<p>Henry David Thoreau (1817&mdash;1862). <p>Civil Disobedience.<p>FROM Walden.<p>Henry Wadsworth Longfellow (1807&mdash;1882). <p>A Psalm of Life.<p>The Arsenal at Springfield.<p>The Jewish Cemetery at Newport.<p>My Lost Youth.<p>Aftermath.<p>The Tide Rises, the Tide Falls.<p>James Russell Lowell (1819&mdash;1891). <p>To the Dandelion.<p>FROM The Biglow Papers, First Series.<p>FROM A Fable for Critics.<p>Harriet Beecher Stowe (1811&mdash;1896). <p>FROM Uncle Tom&#39;s Cabin.<p>Frederick Douglass (1817?&mdash;1895). <p>FROM The Life and Times of Frederick Douglass.<p>Harriet Ann Jacobs (1813&mdash;1897). <p>FROM Incidents in the Life of a Slave Girl.<p>Abraham Lincoln (1809&mdash;1865). <p>To Horace Greeley.<p>Gettysburg Address.<p>Second Inaugural Address.<p>Walt Whitman (1819&mdash;1892). <p>Preface to the 1855 Edition of Leaves of Grass.<p>FROM Inscriptions.<p>One&#39;s-Self I Sing.<p>When I read the book.<p>Song of Myself.<p>FROM Children of Adam.<p>Out of the rolling ocean the crowd.<p>Once I pass&#39;d through a populous city.<p>Facing west from California&#39;s shores.<p>FROM Calamus. In<p>I saw in Louisiana a live-oak growing.<p>I hear it was charged against me.<p>Crossing Brooklyn Ferry.<p>FROM Sea-Drift.<p>Out of the cradle endlessly rocking.<p>FROM By the Roadside.<p>When I heard the learn&#39;d astronomer.<p>The Dalliance of the Eagles.<p>FROM Drum-Taps.<p>Beat! Beat! Drums!<p>Cavalry Crossing a Ford.<p>Bivouac on a Mountain Side.<p>Vigil strange I kept on the field one night.<p>A march in the ranks hard-prest, and the road unknown.<p>A sight in camp in the daybreak gray and dim.<p>The Wound-Dresser.<p>FROM Memories of President Lincoln.<p>When lilacs last in the dooryard bloom&#39;d.<p>FROM Autumn Rivulets.<p>There was a child went forth.<p>Passage to India.<p>The Sleepers.<p>FROM Whispers of Heavenly Death.<p>A noiseless patient spider.<p>FROM Noon to Starry Night.<p>To a Locomotive in Winter.<p>FROM Goody-Bye My Fancy.<p>L. of G.&#39;s Purport.<p>Emily Dickinson (1830&mdash;1886). <p>I never lost as much but twice.<p>Success is counted sweetest.<p>For each ecstatic instant.<p>These are the days when Birds come back.<p>A Wounded Deer&ndash;leaps highest.<p>&ldquo;Faith&rdquo; is a fine invention.<p>The thought beneath so slight a film.<p>I taste a liquor never brewed.<p>Safe in their Alabaster Chambers.<p>I like a look of Agony.<p>Wild Nights&ndash;Wild Nights!<p>There&#39;s a certain Slant of light.<p>I felt a Funeral, in my Brain.<p>I reason, Earth is short<p>The Soul selects her own Society.<p>A Bird came down the Walk.<p>I know that He exists.<p>What Soft&ndash;Cherubic Creatures.<p>Much Madness is divinest Sense.<p>This is my letter to the World.<p>I died for Beauty &ndash;but was scarce.<p>I heard a Fly buzz&ndash;when I died.<p>It was not Death, for I stood up.<p>The Heart asks Pleasure First<p>I like to see it lap the Miles.<p>I cannot live with You.<p>Pain&ndash;has an Element of Blank.<p>One need not be a Chamber &ndash; to be Haunted.<p>Essential Oils-are wrung<p>Because I could not stop for Death.<p>Presentiment &ndash; is that long Shadow&ndash; on the Lawn.<p>Death is a Dialogue between.<p>A narrow Fellow in the Grass.<p>I never saw a Moor.<p>The Bustle in a House. Tell<p>He preached upon &ldquo;Breadth&rdquo; till it argued him narrow.<p>A Route of Evanescence.<p>Apparently with no surprise.<p>My life closed twice before its close.<p>To make a prairie it takes a clover and one bee.<p>THE AGE OF REALISM. <p>Mark Twain (Samuael L. Clemens) (1835&mdash;1910). <p>The Dandy Frightening the Squatter.<p>The Notorious Jumping Frog of Calaveras County.<p>Whittier Birthday Dinner Speech.<p>Adventures of Huckleberry Finn.<p>Mary E. Wilkins Freeman (1852&mdash;1930). <p>A New England Nun.<p>Bret Harte. <p>Tennessee&#39;s Partner.<p>Charles Waddell Chesnutt (1858&mdash;1932). <p>The Goophered Grapevine.<p>William Dean Howells (1837&mdash;1920). <p>Editha<p>Henry James (1843&mdash;1916). <p>Daisy Miller&#58; A Study.<p>The Real Thing.<p>Ambrose Bierce (1842&mdash;1914). <p>An Occurrence at Owl Creek Bridge.<p>Charlotte Perkins Gilman (1860&mdash;1935). <p>The Yellow Wall-Paper.<p>Kate Chopin (1851&mdash;1904). <p>Neg Creol.<p>Stephen Crane (1871&mdash;1900). <p>Black riders came from the sea.<p>In the desert.<p>A God in wrath.<p>I saw a man pursuing the horizon.<p>&ldquo;Do not weep, maiden, for war is kind.<p>A man said to the universe.<p>A man adrift on a slim spar.<p>The Open Boat.<p>Frank Norris (1870&mdash;1902). <p>A Deal in Wheat.<p>Jack London (1876&mdash;1916). <p>The Law of Life.<p>Edith Wharton (1862&mdash;1937). <p>The Other Two.<p>Theodore Dreiser (1871&mdash;1945). <p>The Lost Phoebe<p>THE MODERNIST ERA (1900-1945) <p>W.E.B. Du Bois (1868&mdash;1963). <p>FROM The Souls of Black Folk.<p>Edwin Arlington Robinson (1869&mdash;1935). <p>Richard Cory.<p>Cliff Klingenhagen.<p>Miniver Cheevy.<p>How Annandale Went Out.<p>Eros Turannos.<p>Mr. Flood&#39;s Party.<p>Robert Frost (1874&mdash;1963). <p>The Tuft of Flowers<p>Mending Wall.<p>Home Burial.<p>The Black Cottage.<p>After Apple-Picking.<p>The Wood-Pile<p>The Road Not Taken.<p>An Old Man&#39;s Winter Night.<p>Birches.<p>The Oven Bird.<p>For Once, Then, Something.<p>Fire and Ice.<p>Design.<p>Stopping by Woods on a Snowy Evening.<p>Willa Cather (1873&mdash;1947). <p>Paul&rsquo;s Case<p>Gertrude Stein (1874&mdash;1946). <p>FROM Three Lives.<p>The Gentle Lena.<p>Susie Asado.<p>Picasso.<p>Sherwood Anderson (1876&mdash;1941). <p>I Want to Know Why<p>John Dos Passos (1896&mdash;1970). <p>FROM U.S.A.<p>Preface.<p>FROM The 42nd Parallel.<p>Proteus.<p>FROM 1919.<p>Newsreel The XLIII.&rdquo;,<p>The Body of an American.<p>FROM The Big Money.<p>Newsreel LXVI.<p>The Camera Eye (50).<p>Newsreel LXVIII&rdquo;<p>Vag.<p>Eugene O&#39;Neill (1888&mdash;1953). <p>The Hairy Ape.<p>Ezra Pound (1885&mdash;1972). <p>Portrait d&#39;une Femme.<p>Salutation.<p>A Pact.<p>In a Station of the Metro.<p>The River-Merchant&#39;s Wife&#58; A Letter.<p>FROM Hugh Selwyn Mauberley.<p>I E. P. Ode pour I&#39;Election de son Sepulchre.<p>II The age demanded an image.<p>III The tea-rose tea-grown, etc..<p>IV These fought in any case.<p>V There died a myriad.<p>FROM The Cantos.<p>I And then went down to the ship.<p>II Hang it all, Robert Browning.<p>XLV With Usura.<p>LXXXI What thou lovest well remains.<p>T. S. Eliot (1888&mdash;1965). <p>The Love Song of J. Alfred Prufrock.<p>Preludes.<p>Gerontion.<p>The Waste Land.<p>Notes on 'The Waste Land&#39;.<p>Journey of the Magi.<p>E. E. Cummings (1894&mdash;1962). <p>[all in green my love went riding]<p>[when god lets my body be]<p>[in Just-]<p>[O sweet spontaneous]<p>[Buffalo Bill&rsquo;s defunct]<p>[the Cambridge ladies who live in furnished souls]<p>[Poem, or beauty hurts, Mr. Vinal]<p>[my sweet old etcetera]<p>[anyone lived in a pretty how town]<p>Hart Crane (1899&mdash;1932). <p>Black Tambourine<p>Chaplinesque.<p>At Melville&#39;s Tomb.<p>Voyages.<p>FROM The Bridge.<p>To Brooklyn Bridge.<p>Powhatan&#39;s Daughter.<p>The Harbor Dawn.<p>Van Winkle.<p>The River.<p>The Tunnel.<p>Atlantis.<p>Wallace Stevens (1879&mdash;1955). <p>Peter Quince at the Clavier.<p>Disillusionment of Ten O&#39;Clock.<p>Sunday Morning.<p>Bantams in Pine-woods<p>Anecdote of the Jar.<p>To the One of Fictive Music.<p>A High-Toned Old Christian Woman.<p>The Emperor of Ice-Cream.<p>Of Modern Poetry.<p>No Possum, No Sop, No Taters.<p>Final Soliloquy of the Interior Paramour.<p>The Plain Sense of Things.<p>William Carlos Williams (1883&mdash;1963). <p>Con Brio.<p>The Young Housewife.<p>Pastoral.<p>Tract.<p>Danse Russe.<p>Queen-Ann&#39;s-Lace.<p>Spring and All.<p>To Elsie.<p>The Red Wheelbarrow.<p>At the Ball Game.<p>Between Walls.<p>This Is Just to Say.<p>The Yachts.<p>These.<p>Seafarer.<p>Landscape with the Fall of Icarus.&rdquo;<p>Marianne Moore (1887&mdash;1972). <p>To a Steam Roller.<p>The Fish.<p>Poetry.<p>No Swan So Fine.<p>The Student.<p>The Pangolin.<p>The Mind Is an Enchanting Thing.<p>In Distrust of Merits.<p>Count&eacute;e Cullen (1903&mdash;1946). <p>Yet Do I Marvel.<p>For a Lady I Know.<p>Incident.<p>From the Dark Tower.<p>A Brown Girl Dead.<p>Heritage.<p>Jean Toomer (1894&mdash;1967). <p>Blood-Burning Moon.<p>Zora Neale Hurston (1891&mdash;1960). <p>John Redding Goes to Sea<p>Thomas Wolfe (1900&mdash;1938). <p>Only the Dead Know Brooklyn.<p>Scott Fitzgerald (1896&mdash;1940). <p>Winter Dreams.<p>Ernest Hemingway (1899&mdash;1961). <p>The Killers<p>William Faulkner (1897&mdash;1962). <p>The Evening Sun<p>Langston Hughes (1902&mdash;1967). <p>The Negro Speaks of Rivers.<p>The Weary Blues.<p>Young Gal&#39;s Blues.<p>I, Too.<p>Note on Commercial Theatre.<p>Dream Boogie.<p>Harlem.<p>Theme for English B.<p>On the Road.<p>John Steinbeck (1902&mdash;1968). <p>Flight<p>Katherine Anne Porter (1890&mdash;1980). <p>Maria Concepcion<p>POSTMODERN ERA (1945 TO PRESENT). <p>Eudora Welty (1909&mdash;). <p>Death of a Traveling Salesman.<p>Richard Wright (1908&mdash;1960). <p>FROM Eight Men.<p>The Man Who Was Almost a Man.<p>Ralph Ellison (1914&mdash;1994). <p>FROM Invisible Man. &ldquo;Chapter I.&rdquo;<p>Tennessee Williams (1911&mdash;1983). <p>The Glass Menagerie.<p>Theodore Roethke (1908&mdash;1963). <p>Open House.<p>Cuttings.<p>Cuttings (Later).<p>Root Cellar.<p>My Papa&#39;s Waltz.<p>I Knew a Woman.<p>In a Dark Time.<p>Elizabeth Bishop (1911&mdash;1979). <p>A Miracle for Breakfast.<p>Over 2,000 Illustrations and a Complete Concordance.<p>Visits to St. Elizabeths.<p>Sestina.<p>Brazil, January 1, 1502.<p>In the Waiting Room.<p>Robert Lowell (1917&mdash;1977). <p>The Quaker Graveyard in Nantucket.<p>Mr. Edwards and the Spider.<p>Memories of West Street and Lepke.<p>Skunk Hour.<p>For the Union Dead.<p>Waking Early Sunday Morning.<p>Will Not Come Back.<p>Allen Ginsberg (1926&mdash;1997). <p>Howl.<p>A Supermarket in California.<p>America.<p>To Aunt Rose.<p>Mugging<p>Anne Sexton (1928&mdash;1974). <p>The Farmer&#39;s Wife.<p>Ringing the Bells.<p>All My Pretty Ones.<p>And One for My Dame.<p>The Addict.<p>Us.<p>Rowing.<p>Sylvia Plath (1932&mdash;1963). <p>All the Dead Dears.<p>Two Views of a Cadaver Room.<p>The Bee Meeting.<p>Lady Lazarus.<p>Ariel.<p>The Applicant.<p>Daddy.<p>Fever 103&deg;<p>James Dickey (1923&mdash;1997). <p>The Lifeguard.<p>Reincarnation (I).<p>In the Mountain Tent.<p>Cherrylog Road.<p>The Shark&#39;s Parlor.<p>W. S. Merwin (1927&mdash;). <p>Grandfather in the Old Men&#39;s Home.<p>The Drunk in the Furnace.<p>Separation<p>Noah&#39;s Raven.<p>The Dry Stone Mason.<p>Fly.<p>Strawberries.<p>Direction.<p>Thanks.<p>The Morning Train.<p>Before the Flood<p>Remembering Signs<p>Youth of Animals<p>To the Consolations of Philosophy<p>Louise Gl&uuml;ck (1943&mdash;). <p>Hesitate to Call.<p>The Chicago Train.<p>The Edge.<p>My Neighbor in the Mirror.<p>Thanksgiving.<p>Mock Orange.<p>The Reproach.<p>Celestial Music.<p>Vespers.<p>Field Flowers.<p>James Baldwin (1924&mdash;1987). <p>Sonny&#39;s Blues.<p>Flannery O&#39;Connor (1925&mdash;1964). <p>Good Country People.<p>John Updike (1932&mdash;). <p>Flight.<p>Bernard Malamud (1914&mdash;1986). <p>The Magic Barrel.<p>Amiri Baraka (LeRoi Jones) (1934&mdash;). <p>In Memory of Radio.<p>The Bridge.<p>Notes for a Speech.<p>An Agony, As Now.<p>A Poem for Democrats.<p>A Poem for Speculative Hipsters.<p>A Poem Some People Will Have to Understand.<p>Poem for Half-White College Students.<p>Biography.<p>Sonia Sanchez (1934&mdash;). <p>the final solution/<p>To blk/record/buyers.<p>FROM right on&#58; wite america<p>3.<p>young/black/girl.<p>womanhood.<p>Masks.<p>Just Don&#39;t Never Give Up on Love.<p>June Jordan (1936&mdash;2002) <p>FROM Things That I Do in the Dark.<p>All the World Moved.<p>In Memoriam&#58; Martin Luther King, Jr.<p>Meta-Rhetoric.<p>FROM Naming Our Own Destiny.<p>Poem about My Rights.<p>Rita Dove (1952&mdash;). <p>Adolescence - I.<p>Adolescence - II.<p>Adolescence - III.<p>Banneker.<p>Jiving.<p>The Zeppelin Factory.<p>Under the Viaduct, 1932.<p>Roast Possum.<p>Weathering Out.<p>Daystar.<p>Edward Albee (1928&mdash;). <p>The Zoo Story.<p>Saul Bellow (1915&mdash;). <p>A Silver Dish.<p>Kurt Vonnegut (1922&mdash;). <p>Welcome to the Monkey House.<p>Joyce Carol Oates (1938&mdash;). <p>The Knife<p>Alice Walker (1944&mdash;). <p>Everyday Use.<p>Amy Tan (1952&mdash;). <p>FROM The Joy Luck Club.<p>Half and Half.<p>Donald Barthelme (1931&mdash;1989). <p>The School.<p>Bobbie Ann Mason (1940&mdash;). <p>Shiloh.<p>Gloria Naylor (1950&mdash;). <p>FROM The Women of Brewster Place.<p>Lucielia Louise Turner.<p>Leslie Marmon Silko (1948&mdash;). <p>The Man to Send Rain Clouds<p>Coyote Holds a Full House in His Hand.<p>Raymond Carver (1938&mdash;1988). <p>Cathedral.<p>Don DeLillo (1936&mdash;). <p>FROM White Noise.<p>Sandra Cisneros (1954&mdash;). <p>FROM Woman Hollering Creek.<p>Mericans.<p>Louise Erdrich (1954&mdash;). <p>FROM Love Medicine.<p>The Red Convertible (1974).<p>Tina Howe (1937&mdash;). <p>Painting Churches.<p>Toni Morrison (1931&mdash;). <p>FROM Sula<p>1922.<p>David Mamet (1947-)<p>House of Games<p>Judy Budnitz (1973-)<p>Where We come from<p>REFERENCE WORKS, BIBLIOGRAPHIES<p>CRITICISM, LITERARY AND CULTURAL HISTORY<p>ACKNOWLEDGEMENTS<p>INDEX TO AUTHORS, TITLES AND FIRST LINES

<i>Asian American Studies Now</i> truly represents the enormous changes occurring in Asian American communities and the world, changes that require a reconsideration of how the interdisciplinary field of Asian American studies is defined and taught. This comprehensive anthology, arranged in four parts and featuring a stellar group of contributors, summarizes and defines the current shape of this rapidly changing field, addressing topics such as transnationalism, U.S. imperialism, multiracial identity, racism, immigration, citizenship, social justice, and pedagogy. <p>Jean Yu-wen Shen Wu and Thomas C. Chen have selected essays for the significance of their contribution to the field and their clarity, brevity, and accessibility to readers with little to no prior knowledge of Asian American studies. Featuring both reprints of seminal articles and groundbreaking texts, as well as bold new scholarship, <i>Asian American Studies Now</i> addresses the new circumstances, new communities, and new concerns that are reconstituting Asian America.</p>

<p><P><i>Asian American Studies Now</i> represents the changes occurring in Asian American communities and the world that require a reconsideration of how the interdisciplinary field of Asian American studies is defined and taught. The editors have selected essays for the significance of their contribution and their clarity, brevity, and accessibility to readers with little to no prior knowledge of Asian American studies, and feature reprints of seminal articles and groundbreaking texts, as well as bold new scholarship.</p>

<P>Acknowledgments xi<P>Introduction xiii<P>1 Situating Asian America<P>1 When and Where I Enter Gary Y. Okihiro 3<P>2 Neither Black nor White Angelo N. Ancheta 21<P>3 Detroit Blues&#58; &ldquo;Because of You Motherfuckers&rdquo; Helen Zia 35<P>4 A Dialogue on Racial Melancholia David L. Eng Shinhee Han 55<P>5 Home Is Where the Han Is&#58; A Korean American Perspective on the Los Angeles Upheavals Elaine H. Kim 80<P>6 Recognizing Native Hawaiians&#58; A Quest for Sovereignty Davianna Pomaika'i McGregor 99<P>7 Situating Asian Americans in the Political Discourse on Affirmative Action Michael Omi Dana Takagi 118<P>8 Racism&#58; From Domination to Hegemony Howard Winant 126<P>2 History and Memory<P>9 The Chinese Are Coming. How Can We Stop Them? Chinese Exclusion and the Origins of American Gatekeeping Erika Lee 143<P>10 Public Health and the Mapping of Chinatown Nayan Shah 168<P>11 The Secret Munson Report Michi Nishiura Weglyn 193<P>12 Asian American Struggles for Civil, Political, Economic, and Social Rights Sucheng Chan 213<P>13 Out of the Shadows&#58; Camptown Women, Military Brides, and Korean (American) Communities Ji-Yeon Yuh 239<P>14 The Cold War Origins of the Model Minority Myth Robert G. Lee 256<P>15 Why China? Identifying Histories of Transnational Adoption Sara Dorow 272<P>16 The &ldquo;Four Prisons&rdquo; and the Movements of Liberation&#58; Asian American Activism from the 1960s to the 1990s Glenn Omatsu 298<P>3 Culture, Politics, and Society<P>17 Youth Culture, Citizenship, and Globalization&#58; South Asian Muslim Youth in the United States after September 11th Sunaina Maira 333<P>18 Asian Immigrant Women and Global Restructuring, 1970s&ndash;1990s Rhacel Salazar Parre&ntilde;as 354<P>19 Medical, Racist, and Colonial Constructions of Power in Anne Fadiman's The Spirit Catches You and You Fall Down Monica Chiu 370<P>20 Searching for Community&#58; Filipino Gay Men in New York City Martin F. Manalansan IV 393<P>21 How to Rehabilitate a Mulatto&#58; The Iconography of Tiger Woods Hiram Perez 405<P>22 Occult Racism&#58; The Masking of Race in the Hmong Hunter Incident&#58; A Dialogue between Anthropologist Louisa Schein Filmmaker/Activist Va-Megn Thoj 423<P>23 Collateral Damage&#58; Southeast Asian Poverty in the United States Eric Tang 454<P>4 Pedagogies and Possibilities<P>24 Whither Asian American Studies? Suckeng Chan 477<P>25 Freedom Schooling&#58; Reconceptualizing Asian American Studies for Our Communities Glenn Omatsu 496<P>26 Asians on the Rim&#58; Transnational Capital and Local Community in the Making of Contemporary Asian America Arif Dirlik 515<P>27 Crafting Solidarities Vijay Prashad 540<P>28 We Will Not Be Used&#58; Are Asian Americans the Racial Bourgeoisie? Mari Matsuda 558<P>29 The Struggle over Parcel C&#58; How Boston's Chinatown Won a Victory in the Fight Against Institutional Expansionism and Environmental Racism Andrew Leong 565<P>30 Race Matters in Civic Engagement Work Jean Y. Wu 581<P>31 Homes, Borders, and Possibilities Yen Le Espiritu 603<P>Biographical Notes 623<P>Copyrights and Permissions 627<P>Index 631

<article> <h4>Choice</h4>"A very valuable resource for students and scholars of Asian American and ethnic studies. Highly recommended." </article> <article> <h4>MELUS</h4>"Pedagogically focused and structured, <i>Asian American Studies Now</i> underscores the present-day relevance of the field, given the contemporary realities of neoliberal globalization and the post-9/11 security state. <i>Asian American Studies Now</i> is a return to the field's community-driven roots."<br> </article><article> <h4>author of Almost All Aliens</h4>"To read these essays is to be challenged again and again by some of the brightest minds and most sophisticated political sensibilities at work today. This volume is essential reading." </article>

<p>“I like a little rebellion now and then”—so wrote Thomas Jefferson to Abigail Adams, enlisting in a tradition that throughout American history has led writers to rage and reason, prophesy and provoke. This is the first anthology to collect and examine an American literature that holds the nation to its highest ideals, castigating it when it falls short and pointing the way to a better collective future.</p> <p><i>American Protest Literature</i> presents sources from eleven protest movements—political, social, and cultural—from the Revolution to abolition to gay rights to antiwar protest. Each section reprints documents from the original phase of the movement as well as evidence of its legacy in later times. Informative headnotes place the selections in historical context and draw connections with other writings within the anthology and beyond. Sources include a wide variety of genres—pamphlets, letters, speeches, sermons, legal documents, poems, short stories, photographs, posters—and a range of voices from prophetic to outraged to sorrowful, from U.S. Presidents to the disenfranchised. Together they provide an enlightening and inspiring survey of this most American form of literature.</p>

<p><P>&ldquo;I like a little rebellion now and then&rdquo;&mdash;so wrote Thomas Jefferson to Abigail Adams, enlisting in a tradition that throughout American history has led writers to rage and reason, prophesy and provoke. This is the first anthology to collect and examine an American literature that holds the nation to its highest ideals, castigating it when it falls short and pointing the way to a better collective future.<P><i>American Protest Literature</i> presents sources from eleven protest movements&mdash;political, social, and cultural&mdash;from the Revolution to abolition to gay rights to antiwar protest. Each section reprints documents from the original phase of the movement as well as evidence of its legacy in later times. Informative headnotes place the selections in historical context and draw connections with other writings within the anthology and beyond. Sources include a wide variety of genres&mdash;pamphlets, letters, speeches, sermons, legal documents, poems, short stories, photographs, posters&mdash;and a range of voices from prophetic to outraged to sorrowful, from U.S. Presidents to the disenfranchised. Together they provide an enlightening and inspiring survey of this most American form of literature.</p><h3>L. L. Johnson - Choice</h3><p>Trodd organizes this excellent anthology around 11 reform movements, most based on race, class, or gender (e.g., the American Revolution, abolition, women's suffrage, gay rights). Collecting the work of both established writers and new voices, the book comprises some hundred pieces (1-3 pages each)&#58; prose excerpts, political documents, poems, photographs, film briefs, essays, fiction, narratives, and orations...This excellent book can serve as a textbook as well as a resource on social change and the literature thereof. Indeed, the persuasiveness of the collection raises the question not only of whether protest literature is a genre of its own, but also of whether it is the most American literary form.</p>

<P>Foreword&nbsp;&nbsp;&nbsp;John Stauffer&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xi<br>Introduction&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xix<br>Declaring Independence: The American Revolution<br>The Literature<br>"A Political Litany" (1775)&nbsp;&nbsp;&nbsp;Philip Freneau&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3<br>From Common Sense (1776)&nbsp;&nbsp;&nbsp;Thomas Paine&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;5<br>From "The Dominion of Providence over the Passions of Men" (1776)&nbsp;&nbsp;&nbsp;John Witherspoon&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;10<br>The Declaration of Independence (1776)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;15<br>From Letters from an American Farmer (1782)&nbsp;&nbsp;&nbsp;J. Hector St. John de Crevecoeur&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;19<br>The Legacy<br>"The Working Men's Party Declaration of Independence" (1829)&nbsp;&nbsp;&nbsp;George Evans&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;24<br>"Seneca Falls Declaration of Sentiments" (1848)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;27<br>From "Resistance to Civil Government" (1849)&nbsp;&nbsp;&nbsp;Henry David Thoreau&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;31<br>From "Provisional Constitution" (1858)&nbsp;&nbsp;&nbsp;John Brown&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;36<br>From "Declaration of Interdependence by the Socialist Labor Party" (1895)&nbsp;&nbsp;&nbsp;Daniel De Leon&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;38<br>Unvanishing the Indian: Native American Rights<br>The Literature<br>Speech to Governor William Harrison at Vincennes (1810)$dTecumseh&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;45<br>"An Indian's Looking-Glass for the White Man" (1833)&nbsp;&nbsp;&nbsp;William Apess&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;48<br>"Indian Names" (1834)&nbsp;&nbsp;&nbsp;Lydia Sigourney&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;55<br>From From the Deep Woods to Civilization(1916)&nbsp;&nbsp;&nbsp;Charles Eastman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;57<br>From Black Elk Speaks (1932)&nbsp;&nbsp;&nbsp;Black Elk&nbsp;&nbsp;&nbsp;John G. Neihardt&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;61<br>The Legacy<br>From Bury My Heart at Wounded Knee (1970)&nbsp;&nbsp;&nbsp;Dee Brown&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;65<br>"What Is the American Indian Movement?" (1973)&nbsp;&nbsp;&nbsp;Birgil Kills Straight&nbsp;&nbsp;&nbsp;Richard LaCourse&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;68<br>"American Indians and Vietnamese" (1973)&nbsp;&nbsp;&nbsp;Roland Winkler&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;70<br>From Lakota Woman (1990)&nbsp;&nbsp;&nbsp;Mary Crow Dog&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;72<br>"The Exaggeration of Despair" (1996)&nbsp;&nbsp;&nbsp;Sherman Alexie&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;75<br>Little Books That Started a Big War: Abolition and Antislavery<br>The Literature<br>From Appeal to the Coloured Citizens (1829)&nbsp;&nbsp;&nbsp;David Walker&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;79<br>From Uncle Tom's Cabin (1852)&nbsp;&nbsp;&nbsp;Harriet Beecher Stowe&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;85<br>From "The Meaning of July Fourth for the Negro" (1852)&nbsp;&nbsp;&nbsp;Frederick Douglass&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;92<br>Prison Letters (1859)&nbsp;&nbsp;&nbsp;John Brown&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;99<br>From Incidents in the Life of a Slave Girl (1861)&nbsp;&nbsp;&nbsp;Harriet Jacobs&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;106<br>The Legacy<br>The Emancipation Proclamation and the Thirteenth, Fourteenth, and Fifteenth Amendments to the Constitution (1863, 1865-1870)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;112<br>"Solidarity Forever" (1915)&nbsp;&nbsp;&nbsp;Ralph Chaplin&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;116<br>From "Everybody's Protest Novel" (1949)&nbsp;&nbsp; &nbsp;James Baldwin&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;118<br>From The Defiant Ones (1958)&nbsp;&nbsp;&nbsp;Stanley Kramer&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;122<br>From Disposable People: New Slavery in the Global Economy (1999)&nbsp;&nbsp;&nbsp;Kevin Bales&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;124<br>This Land is Herland: Women's Rights and Suffragism<br>The Literature<br>From "Shall Women Have the Right to Vote?" (1851)&nbsp;&nbsp;&nbsp;Wendell Phillips&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;133<br>From "Women and Suffrage" (1867)&nbsp;&nbsp;&nbsp;Lydia Maria Child&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;139<br>From "Declaration and Protest of the Women of the United States" (1876)$dNational Woman Suffrage Association&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;144<br>From "Solitude of Self" (1892)&nbsp;&nbsp;&nbsp;Elizabeth Cady Stanton&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;149<br>"The Yellow Wallpaper" (1892)&nbsp;&nbsp;&nbsp;Charlotte Perkins Gilman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;155<br>The Legacy<br>"Frederick Douglass" (1908)&nbsp;&nbsp;&nbsp;Mary Church Terrell&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;170<br>From "Why Women Should Vote" (1910)&nbsp;&nbsp;&nbsp;Jane Addams&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;175<br>From Herland (1915)&nbsp;&nbsp;&nbsp;Charlotte Perkins Gilman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;181<br>Nineteenth Amendment and Equal Rights Amendments (1920, 1923, 1943)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;185<br>"Now We Can Begin" (1920)&nbsp;&nbsp;&nbsp;Crystal Eastman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;187<br>Capitalism's Discontents: Socialism and Industry<br>The Literature<br>From Life in the Iron Mills (1861)&nbsp;&nbsp;&nbsp;Rebecca Harding Davis&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;195<br>From Looking Backward, 2000-1887 (1888)&nbsp;&nbsp;&nbsp;Edward Bellamy&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;204<br>From How the Other Half Lives (1890)&nbsp;&nbsp;&nbsp;Jacob Riis&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;211<br>From The Jungle (1906)&nbsp;&nbsp;&nbsp;Upton Sinclair&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;216<br>"Sadie Pfeifer" and "Making Human Junk" (1908, 1915)&nbsp;&nbsp;&nbsp;Lewis Hine&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;222<br>The Legacy<br>From "The People's Party Platform" (1892)&nbsp;&nbsp;&nbsp;Ignatius Donnelly&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;225<br>From Food and Drugs Act and Meat Inspection Act (1906)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;229<br>Statement to the Court (1918)&nbsp;&nbsp;&nbsp;Eugene V. Debs&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;232<br>"Farewell, Capitalist America!" (1929)&nbsp;&nbsp;&nbsp;William (Big Bill) Haywood&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;237<br>From Nickel and Dimed (2001)&nbsp;&nbsp;&nbsp;Barbara Ehrenreich&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;240<br>Strange Fruit: Against Lynching<br>The Literature<br>From Southern Horrors (1892)&nbsp;&nbsp;&nbsp;Ida B. Wells&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;247<br>"Jesus Christ in Texas" (1920)&nbsp;&nbsp;&nbsp;W. E. B. Du Bois&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;256<br>"The Lynching" (1920)&nbsp;&nbsp;&nbsp;Claude McKay&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;264<br>From "Big Boy Leaves Home" (1936)&nbsp;&nbsp;&nbsp;Richard Wright&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;266<br>"Strange Fruit" (1937, 1939)&nbsp;&nbsp;&nbsp;Abel Meeropol&nbsp;&nbsp;&nbsp;Billie Holiday&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;274<br>The Legacy<br>"Bill for Negro Rights and the Suppression of Lynching" (1934)$dLeague of Struggle for Negro Rights&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;276<br>"Federal Law Is Imperative" (1947)&nbsp;&nbsp;&nbsp;Helen Gahagan Douglas&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;279<br>"Take a Stand against the Klan" (1980)$dThe John Brown Anti-Klan Committee&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;281<br>From "AmeriKKKa 1998: The Lynching of James Byrd" (1998)&nbsp;&nbsp;&nbsp;Michael Slate&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;286<br>"The Lynching of Thomas Shipp and Abram Smith, 1930" (2000)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;289<br>Dust Tracks on the Road: The Great Depression<br>The Literature<br>"Migrant Mother" (1936)&nbsp;&nbsp;&nbsp;Dorothea Lange&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;293<br>"Farmer and Sons" (1936)&nbsp;&nbsp;&nbsp;Arthur Rothstein&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;295<br>From The Grapes of Wrath (1939)&nbsp;&nbsp;&nbsp;John Steinbeck&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;297<br>Hale County, Alabama (1936)&nbsp;&nbsp;&nbsp;Walker Evans&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;303<br>From Let Us Now Praise Famous Men (1941)&nbsp;&nbsp;&nbsp;James Agee&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;306<br>The Legacy<br>"Tom Joad" (1940)&nbsp;&nbsp;&nbsp;Woody Guthrie&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;316<br>From 12 Million Black Voices (1941)&nbsp;&nbsp;&nbsp;Richard Wright&nbsp;&nbsp;&nbsp;Edwin Rosskam&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;320<br>From The Sweet Flypaper of Life (1955)&nbsp;&nbsp;&nbsp;Roy DeCarava&nbsp;&nbsp;&nbsp;Langston Hughes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;326<br>From The Other America (1962)&nbsp;&nbsp;&nbsp;Michael Harrington&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;328<br>"Poverty Is a Crime" (1972)&nbsp;&nbsp;&nbsp;Malik&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;332<br>The Dungeon Shook: Civil Rights and Black Liberation<br>The Literature<br>"Montgomery: Reflections of a Loving Alien" (1956)&nbsp;&nbsp;&nbsp;Robert Granat&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;337<br>"My Dungeon Shook" (1962)&nbsp;&nbsp;&nbsp;James Baldwin&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;342<br>From "Letter from Birmingham Jail" (1963)&nbsp;&nbsp;&nbsp;Martin Luther King, Jr.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;346<br>"Civil Rights March on Washington, D.C." (1963)&nbsp;&nbsp;&nbsp;Marion Trikosko&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;354<br>From "The Ballot or the Bullet" (1964)&nbsp;&nbsp;&nbsp;Malcolm X&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;356<br>The Legacy<br>"On Civil Rights" (1963)&nbsp;&nbsp;&nbsp;John F. Kennedy&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;364<br>From "The American Promise" (1965)&nbsp;&nbsp;&nbsp;Lyndon B. Johnson&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;369<br>"Black Art" (1966)&nbsp;&nbsp;&nbsp;Amiri Baraka&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;375<br>"Panther Power" (1989)&nbsp;&nbsp;&nbsp;Tupac Shakur&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;378<br>"Ten Point Program" (2001)$dNew Black Panther Party&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;381<br>A Problem That Had No Name: Second-Wave Feminism<br>The Literature<br>"I Stand Here Ironing" (1956)&nbsp;&nbsp;&nbsp;Tillie Olsen&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;387<br>From The Feminine Mystique (1963)&nbsp;&nbsp;&nbsp;Betty Friedan&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;394<br>"Statement of Purpose" (1966)$dNational Organization for Women&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;400<br>"Women's Liberation Has a Different Meaning for Blacks" (1970)&nbsp;&nbsp;&nbsp;Renee Ferguson&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;406<br>"For the Equal Rights Amendment" (1970)&nbsp;&nbsp;&nbsp;Shirley Chisholm&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;411<br>The Legacy<br>Letter to Betty Friedan (1963)&nbsp;&nbsp;&nbsp;Gerda Lerner&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;416<br>"Poetry Is Not a Luxury" (1977)&nbsp;&nbsp;&nbsp;Audre Lorde&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;418<br>"The Female and the Silence of a Man" (1989)&nbsp;&nbsp;&nbsp;June Jordan&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;422<br>From The Morning After (1993)&nbsp;&nbsp;&nbsp;Katie Roiphe&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;424<br>"Women Don't Riot" (1998)&nbsp;&nbsp;&nbsp;Ana Castillo&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;430<br>The Word Is Out: Gay Liberation<br>The Literature<br>From "Howl" (1956)&nbsp;&nbsp;&nbsp;Allen Ginsberg&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;435<br>Stonewall Documents (1969-1970)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;438<br>From "Refugees from Amerika: A Gay Manifesto" (1969)&nbsp;&nbsp;&nbsp;Carl Wittman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;444<br>"The Women's Liberation and Gay Liberation Movements" (1970)&nbsp;&nbsp;&nbsp;Huey P. Newton&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;451<br>From Street Theater (1982)&nbsp;&nbsp;&nbsp;Doric Wilson&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;454<br>The Legacy<br>"Read My Lips" (1988); Still/Here (1994)&nbsp;&nbsp;&nbsp;Bill T. Jones$dACT UP&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;458<br>From Angels in America (1990, 1991)&nbsp;&nbsp;&nbsp;Tony Kushner&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;460<br>"Dyke Manifesto" (1993)&nbsp;&nbsp;&nbsp;Lesbian Avengers&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;467<br>From Stone Butch Blues (1993)&nbsp;&nbsp;&nbsp;Leslie Feinberg&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;471<br>Goodridge v. Department of Public Health (2003)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;476<br>From Saigon to Baghdad: The Vietnam War and Beyond<br>The Literature<br>"I-Feel-Like-I'm-Fixin'-To-Die-Rag" (1965)$dCountry Joe and the Fish&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;481<br>"Advent 1966" (1966)&nbsp;&nbsp;&nbsp;Denise Levertov&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;484<br>From Why Are We in Vietnam? (1967)&nbsp;&nbsp;&nbsp;Norman Mailer&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;486<br>"Saigon" (1968); "Napalm" (1972)&nbsp;&nbsp;&nbsp;Eddie Adams&nbsp;&nbsp;&nbsp;Nick (Huynh Cong) Ut&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 489<br>From Dispatches (1967-1969, 1977)&nbsp;&nbsp;&nbsp;Michael Herr&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;491<br>The Legacy<br>"April 30, 1975" (1975)&nbsp;&nbsp;&nbsp;John Balaban&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;496<br>From "How to Tell a True War Story" (1987)&nbsp;&nbsp;&nbsp;Tim O'Brien&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;498<br>Poets against the War&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;502<br>"Speak Out" (2003)&nbsp;&nbsp;&nbsp;Lawrence Ferlinghetti&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;503<br>"Poem of War" (2003)&nbsp;&nbsp;&nbsp;Jim Harrison&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;504<br>"Poem of Disconnected Parts" (2005)&nbsp;&nbsp;&nbsp;Robert Pinsky&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;505<br>"Who Would Jesus Torture?" (2004)&nbsp;&nbsp;&nbsp;Clinton Fein&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;507<br>From Born on the Fourth of July (1976, 2005)&nbsp;&nbsp;&nbsp;Ron Kovic&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;510<br>Afterword&nbsp;&nbsp;&nbsp;Howard Zinn&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;515<br>Sources&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;519<br>Acknowledgments&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;529<br>Index&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;531

<article> <h4>Choice</h4><p>Trodd organizes this excellent anthology around 11 reform movements, most based on race, class, or gender (e.g., the American Revolution, abolition, women's suffrage, gay rights). Collecting the work of both established writers and new voices, the book comprises some hundred pieces (1–3 pages each): prose excerpts, political documents, poems, photographs, film briefs, essays, fiction, narratives, and orations… This excellent book can serve as a textbook as well as a resource on social change and the literature thereof. Indeed, the persuasiveness of the collection raises the question not only of whether protest literature is a genre of its own, but also of whether it is the most American literary form.<br> — L. L. Johnson</p> </article> <article> <h4>Syracuse New Times</h4><p>The recently published treasure <i>American Protest Literature</i>, edited by Zoe Trodd…belongs on our bookshelves for two types of enjoyment. For starters, it is an invaluable reference, the first anthology to collect and examine American literature 'that holds the nation to its highest ideals, castigating it when it falls short and pointing the way to a better collective future.' It is also a great pleasure to read the 500-plus pages… May the daily newspaper and the nightly news glow with new perspective. Read this book.<br> — Karen DeCrow</p> </article><article> <h4>Library Journal</h4>In this time of warrantless wiretaps and imprisonment without trial, these two anthologies remind us how hard previous generations of Americans fought to preserve and broaden our civil and human rights. Dissent is the larger and broader of the two. Young (history, Temple Univ.) organizes his book chronologically, with introductions to each of nine broad periods from pre-Revolutionary War to contemporary times (Cindy Sheehan against the war in Iraq in 2005) and briefer introductions for each author. Early protests of religious persecution by Puritans in the 17th century mix with Native American speeches and an anonymous slave's letter, and the collection continues with a wide social, economic, political, and racial span, ultimately embracing a panoply of issues including black liberation, the environment, gay rights, workers' rights, and peace movements. While Young defines dissent as coming from both the Left and the Right in his introduction, left of center predominates. American Protest Literature is organized by Trodd around 11 subjects, which are collected more or less as they have arisen chronologically in our history, from "Declaring Independence" and "Unvanishing the Indian" to "The Word Is Out: Gay Liberation" and "From Saigon to Baghdad." Within each area, Trodd presents writings from both the originating movement and the later protest writings on similar themes, e.g., Daniel De Leon's 1895 Declaration of Interdependence by the Socialist Labor Party is with Thomas Paine in the first section. There is less introductory material here than in Young's book, but by linking original works to later pieces Trodd underlines the historical roots of American dissent and the ongoing relevance of these writings. Trodd does not attempt to include right-of-center dissent, nor does her work contain literature on environmentalism or the long history of anti-imperialism, as does Young. Taken together, these books offer an exciting and inclusive vision of Americans fighting for their rights since the 17th century. Both are highly recommended for academic and public libraries. Duncan Stewart, Univ. of Iowa Libs., Iowa City Copyright 2006 Reed Business Information. </article>

<p>"A collection of important, eloquent, and often mesmerizing writings by American Indian Women. . . . A profoundly moving statement of resilience and renewal."&mdash;<b>San Francisco Chronicle</b></p><h3>Library Journal</h3><p>Coeditors Harjo (The Woman Who Fell from the Sky, LJ 11/15/94) and Bird (Full Moon on the Reservation, Greenfield Review, 1994) have put together a one-of-a-kind anthology of fiction, poetry, and memoir from over 80 Native women writers representing over 50 nations. Although nationally known writers such as Louise Erdrich, Linda Hogan, and Leslie Silko are included, many others are being published here for the first time. More than a collection of literature, this work is divided into four sectionsgenesis, struggle, transformation, and returningto illuminate the writing process. Each writer introduces herself and her philosophical perspective about writing, and the willingness to share personal stories makes this a work of rare beauty, truth, and power. In addition, the anthology also highlights the writers' views on universal concerns such as violence against women, poverty, alcoholism, depression, government/Native American relations, and, especially, identity and place. Recommended for all libraries.Vicki Leslie Toy Smith, Univ. of Nevada, Reno</p>

<p>Living Literature<br> An Introduction to Fiction, Poetry, and Drama John Brereton</p> <p>Bringing the past into the present, this innovative anthology focuses on literature as part of a fluid, living conversation across cultures, genres, and time periods. More so than any other anthology, Living Literature energizes students by offering new perspectives on a vibrant collection of stories, poems, and plays, contextualizing classic works with contemporary pieces and emphasizing the dynamic creative relationship between writers, artists, filmmakers, and musicians.</p> <p>Moments<br> Five “Moments” chapters gather literary works from one particular time, place, or cultural viewpoint and frame the connections between them.</p> <ul> <li>More than Magnolias: Southern Women Storytellers (Chapter Seven)</li> <li>Passage to America: New Immigrants Tell Their Stories (Chapter Eight)</li> <li>Passionate Verse: Love Poetry of the English Renaissance (Chapter Sixteen)</li> <li>Writing Out Loud: Popular Victorian Narratives (Chapter Seventeen)</li> <li>Sweet Home Chicago: From Chicago Renaissance to A Raisin in the Sun (Chapter Twenty Five)</li> </ul> <blockquote>A Moment in Fiction: Southern Women Storytellers<br> Flannery O’Connor discusses her craft as one of the seven women writers in the Moments chapter, “More than Magnolias: Southern Women Storytellers.”</blockquote> <p>Inspiration<br> “Inspiration” sections in each chapter highlight artists from all genres–filmmakers, painters, musicians–who draw their creative spark from a writer or work in the anthology.</p> <blockquote>Inspiration: Yeats and U2’s Bono<br> U2’s Bono draws inspiration from fellow Irishman, William Butler Yeats, incorporating lines of Yeats’s poetry into song lyrics and live performances.</blockquote> <p>Literary, Web, Audio, and Visual Locales<br> “Locales” in every chapter prompt readers to seek out contextual resources–a real-life literary location, an online site, an audio clip, or visual image–that will enrich their understanding of a particular text.</p> <blockquote>Literary Locale: Tennessee Williams Literary Festival, New Orleans<br> The Tennessee Williams Literary Festival, hosted annually in New Orleans, celebrates the playwright’s work, such as A Streetcar Named Desire.</blockquote> <p>Visit us at www.ablongman.com</p>

<p><P><p>Living Literature<br>An Introduction to Fiction, Poetry, and Drama John Brereton<p><p>Bringing the past into the present, this innovative anthology focuses on literature as part of a fluid, living conversation across cultures, genres, and time periods. More so than any other anthology, Living Literature energizes students by offering new perspectives on a vibrant collection of stories, poems, and plays, contextualizing classic works with contemporary pieces and emphasizing the dynamic creative relationship between writers, artists, filmmakers, and musicians.<p>Moments<br> Five &ldquo;Moments&rdquo; chapters gather literary works from one particular time, place, or cultural viewpoint and frame the connections between them. <ul> <li>More than Magnolias&#58; Southern Women Storytellers (Chapter Seven) <li>Passage to America&#58; New Immigrants Tell Their Stories (Chapter Eight) <li>Passionate Verse&#58; Love Poetry of the English Renaissance (Chapter Sixteen) <li>Writing Out Loud&#58; Popular Victorian Narratives (Chapter Seventeen) <li>Sweet Home Chicago&#58; From Chicago Renaissance to A Raisin in the Sun (Chapter Twenty Five) </ul> <blockquote>A Moment in Fiction&#58; Southern Women Storytellers<br>Flannery O&rsquo;Connor discusses her craft as one of the seven women writers in the Moments chapter, &ldquo;More than Magnolias&#58; Southern Women Storytellers.&rdquo; </blockquote><p>Inspiration<br>&ldquo;Inspiration&rdquo; sections in each chapter highlight artists from all genres&ndash;filmmakers, painters, musicians&ndash;who draw their creative spark from a writer or work in the anthology.<p><blockquote>Inspiration&#58; Yeats and U2&rsquo;s Bono<br>U2&rsquo;s Bono draws inspiration from fellow Irishman, William Butler Yeats, incorporating lines of Yeats&rsquo;s poetry into song lyrics and live performances. </blockquote><p>Literary, Web, Audio, and Visual Locales<br>&ldquo;Locales&rdquo; in every chapter prompt readers to seek out contextual resources&ndash;a real-life literary location, an online site, an audio clip, or visual image&ndash;that will enrich their understanding of a particular text.<p><blockquote>Literary Locale&#58; Tennessee Williams Literary Festival, New Orleans<br> The Tennessee Williams Literary Festival, hosted annually in New Orleans, celebrates the playwright&rsquo;s work, such as A Streetcar Named Desire. </blockquote> <p>Visit us at www.ablongman.com<p></p>

<P>PART I&#58; FICTION<p>1. Stories&#58; Plot, Character, Setting<p>The Hare and the Tortoise<p>Story with a Lesson<p>Inspiration&#58; Animation and The Tortoise and the Hare<p>Video locale&#58; Bugs Bunny Cartoons of The Tortoise and the Hare<p>Plot Ordering the Plot Kate Chopin, The Story of An Hour<p>For Further Reading&#58; Plot<p>Richard Ford, Under the Radar<p>Character<p>Tim O&rsquo;Brien, Stockings<p>Types of Characters<p>For Further Reading&#58; Character<p>Alice Munro, Prue<p>Setting<p>James Joyce, Araby<p>Literary Locale&#58; James Joyce and Davy Byrnes Pub<p>Symbolic Setting<p>For Further Reading&#58; Setting<p>Literary Locale&#58; Colter&rsquo;s Chicago&mdash;The South Side and the El<p>Cyrus Colter, Mary&rsquo;s Convert<p>2. Stories&#58; Point of View, Theme, Symbol, Performance Point of View<p>First-Person Narration<p>Third-Person Narration<p>Subjective vs. Objective Narration<p>Jamaica Kincaid, Girl<p>Point of View in &ldquo;Girl&rdquo;<p>The Narrator&rsquo;s Role<p>For Further Reading&#58; Point of View<p>Margaret Atwood, Happy Endings<p>Theme<p>John Updike, A & P<p>Theme in &ldquo;A & P&rdquo;<p>Theme, Meaning, and Intention<p>For Further Reading&#58; Theme<p>Anita Desai, Games at Twilight<p>Symbol<p>Stuart Dybek, The Palatski Man<p>For Further Reading&#58; Symbol<p>Gabriel Garc&iacute;a M&aacute;rquez, The Handsomest Drowned Man in the World<p>Tone<p>Inspiration&#58; Carver to Altman&#58; From Fiction to Film<p>Raymond Carver, Cathedral<p>For Further Reading&#58; Tone<p>Ana Castillo, Loverboys<p>Story and Performance<p>Wallace Stegner, A Note on Technique<p>Story and Performance in &ldquo;A Note on Technique&rdquo;<p>Audio and Video Locale&#58; Updike&rsquo;s &ldquo;A&P&rdquo; in Performance<p>3. Writing about Stories<p>The Cultural Conversation<p>Reviews<p>Short Review<p>Short Review of Harry Potter and the Sorcerer&rsquo;s Stone<p>Full Review<p>Full Review of Harry Potter and the Sorcerer&rsquo;s Stone<p>Beyond Reviews&#58; Criticism<p>Popular Criticism<p>Newsweek, Here&rsquo;s Harry&#58; Behind the Fastest-Selling Book in History<p>Scholarly Articles<p>Roni Natov, Harry Potter and the Extraordinariness of the Ordinary<p>How to Enter the Conversation?<p>Virtual Locale&#58; Blogging about Stories<p>Questions to Develop Ideas About a Story<p>Point of View<p>Language<p>Setting<p>Character<p>Plot<p>Links to Other Texts<p>Response<p>Formats for Writing about Stories<p>Annotating a Story<p>Annotations for a page of &ldquo;The Story of An Hour&rdquo;<p>Summarizing a Story<p>Summaries of &ldquo;The Story of An Hour&rdquo;<p>Keeping a Personal Journal<p>Double-Entry Reaction Journal on a page of &ldquo;The Story of An Hour&rdquo;<p>Writing a Response Paper<p>From a Response Paper to &ldquo;The Story of An Hour&rdquo;<p>Writing an Intervention<p>Writing an Explication<p>Explication of the opening of &ldquo;The Story of An Hour&rdquo;<p>Writing an Analytical Essay<p>Student Analytical Essay of &ldquo;The Story of An Hour&rdquo;<p>4. A Fiction Writer in Depth&#58; Nathaniel Hawthorne<p>Literary Locale&#58; Hawthorne&rsquo;s Massachusetts&mdash;Concord and Salem<p>Virtual Locale&#58;Hawthorne in Salem Website<p>Nathaniel Hawthorne Timeline<p>Stories by Nathaniel Hawthorne<p>Young Goodman Brown<p>Lady Eleanore&rsquo;s Mantle<p>The Maypole of Merry Mount<p>Commentary&#58; Nathaniel Hawthorne on his Art and His Life<p>Inspiration&#58;<p>Hawthorne and Melville&#58; A Literary Friendship<p>5. A Fiction Writer in Depth&#58; Willa Cather<p>Literary and Virtual Locale&#58; Willa Cather&rsquo;s Red Cloud, Nebraska<p>Willa Cather Timeline<p>Audio Locale&#58; Cather&rsquo;s 1933 Radio Speech<p>Stories by Willa Cather<p>Peter<p>Paul&rsquo;s Case<p>A Wagner Matin&eacute;e<p>Inspiration&#58; &ldquo;A Wagner Matin&eacute;e&rdquo; in Performance&mdash;Cather from Page to Radio Stage<p>Audio and Virtual Locale&#58;Recording of Scribbling Women &ldquo;A Wagner Matin&eacute;e&rdquo; Radio Play<p>An Old Beauty<p>Virtual Locale&#58;The Willa Cather Archive <p>Commentary&#58; Willa Cather on Writing<p>Commentary&#58; Willa Cather the Critic<p>Willa Cather, From &ldquo;Shakespeare and Hamlet&rdquo;<p>6. A Fiction Writer in Depth&#58; Charles Baxter <p>Charles Baxter Timeline<p>Literary Locale&#58; Baxter&rsquo;s Michigan and the Mystery of the Midwest<p>Stories by Charles Baxter<p>Shelter<p>Inspiration&#58;&ldquo;Gryphon&rdquo; in Performance&mdash;Chicago Public Radio&rsquo;s Stories on Stage<p>Gryphon<p>Audio and Virtual Locale&#58;Recording of Stories on Stage &ldquo;Gryphon&rdquo; Dramatic Reading<p>Saul and Patsy Are Pregnant<p>Virtual Locale&#58;Charles Baxter&rsquo;s Website<p>Kiss Away<p>Commentary&#58; Charles Baxter on Fiction and the Writer&rsquo;s Role<p>Commentary&#58; Charles Baxter, Critical Writing on Fiction<p>Commentary&#58; Excerpts from Selected Reviews<p>Inspiration&#58; Music in the Fiction of Charles Baxter<p>Audio Locale&#58;Recordings of &ldquo;Gimme Shelter&rdquo; and &ldquo;Unchain My Heart&rdquo;<p>7. More Than Magnolias&#58; Southern Women Storytellers<p>Literary and Virtual Locale&#58; The Gravesite of Zora Neale Hurston, Fort Pierce, Florida<p>Southern Women Writers Timeline<p>Literary and Virtual Locale&#58; Zora Festival, Eatonville, Florida<p>Zora Neale Hurston, Sweat<p>Inspiration&#58;<p>&ldquo;Sweat&rdquo; in Performance&mdash;Hurston from Page to Radio Stage<p>Audio and Virtual Locale&#58;Recording of Scribbling Women &ldquo;Sweat&rdquo; Radio Play<p>Literary and Virtual Locale&#58;The Homes and the Archives of Eudora Welty&mdash;Jackson, Mississippi<p>Virtual Locale&#58;The Eudora Welty House and The Eudora Welty Collection<p>Eudora Welty, Why I Live at the P.O.<p>A Worn Path<p>A Shower of Gold<p>Commentary&#58; Eudora Welty on the Craft of Writing<p>Inspiration&#58; Alice Walker and Lee Smith on Flannery O&rsquo;Connor and Eudora Welty<p>Literary Locale&#58; The Georgia Homes of Flannery O&rsquo;Connor&mdash;Savannah and Milledgville<p>Virtual Locale&#58;Flannery O&#39;Connor Home Foundation and Andalusia Farm Websites<p>Flannery O&rsquo;Connor, A Good Man is Hard to Find<p>Parker&rsquo;s Back<p>Inspiration&#58; Flannery O&rsquo;Connor and Bruce Springsteen&rsquo;s Nebraska Commentary&#58; Flannery O&rsquo;Connor on her Craft<p>Lee Smith, Cakewalk<p>Mary Hood, How Far She Went<p>Dorothy Allison, I&rsquo;m Working on My Charm<p>Inspiration&#58; Writers Who Inspired Dorothy Allison<p>Virtual Locale&#58;Alice Walker and other &ldquo;Voices of Mississippi&rdquo;<p>Alice Walker, Everyday Use<p>Commentary&#58; Contemporary Southern Women Writers Speak On the South<p>8. Passage to America&#58; New Immigrant Tell Their Stories<p>Passage to America Timeline<p>Pat Mora, Immigrants<p>Inspiration&#58;<p>&ldquo;I, Too, Sing Am&eacute;rica&rdquo;&mdash;&ldquo;All-American&rdquo; Writers, from Whitman to Hughes to Alvarez<p>Langston Hughes, I, Too, Sing America<p>Virtual Locale&#58;<p>The &ldquo;Writers on America&rdquo; Project&#58; What Does It Means to be an American Writer?<p>Literary Locale&#58;<p>Los Angeles&rsquo;s Latino Museum of History, Art and Culture<p>Jhumpa Lahiri, The Third and Final Continent<p>Commentary&#58; Jhumpa Lahiri on the Short Story<p>Virtual Locale&#58;<p>The South Asian Women&rsquo;s Network&rsquo;s Online Bookshelf<p>Gish Jen, In the American Society<p>Commentary&#58; Gish Jen on the Short Story<p>Virtual and Video Locale&#58;Interview With Gish Jen on "Becoming American&#58; Personal Journeys"<p>Esmeralda Santiago, When I Was Puerto Rican<p>Commentary&#58; Esmeralda Santiago on When I Was Puerto Rican<p>Video and Virtual Locale&#58;<p>Santiago in Performance&#58; PBS Film Adaptation of Almost a Woman<p>Junot D&iacute;az, Fiesta, 1980<p>Commentary&#58; Junot D&iacute;az on Fiction<p>Literary and virtual Locale&#58; New York&rsquo;s El Museo del Barrio<p>Anjana Appachana, Her Mother<p>Commentary&#58; Anjana Appachana on the Short Story<p>Literary Locale&#58;Ellis Island&mdash;The Gateway for the Early U.S. Immigrant<p>virtual Locale&#58; The Ellis Island Immigration Museum<p>9. Stories for Further Reading<p>A Brief Note on the Sequencing of the Stories<p>A Brief Note on the Inclusion of Non-Fiction<p>Jonathan Swift, A Modest Proposal<p>Edgar Allan Poe, The Tell-Tale Heart<p>Literary Locale&#58; Edgar Allan Poe&mdash;The Philadelphia Years<p>Anton Chekhov, The Lady with the Dog<p>D.H. Lawrence, The Horse Dealer&rsquo;s Daughter<p>Ernest Hemingway, Hills Like White Elephants<p>Inspiration&#58; Imitation Hemingway and Faux Faulkner Contests<p>Virtual Locale&#58; Hemispheres Magazine Website<p>Katherine Anne Porter, The Jilting of Granny Weatherall<p>William Faulkner, Barn Burning<p>A Rose for Emily<p>Literary Locale&#58; Faulkner&rsquo;s Oxford, Mississippi<p>James Thurber, The Night the Bed Fell In<p>George Orwell, Shooting an Elephant<p>E.B. White, Once More to the Lake<p>Richard Wright, The Man Who Lived Underground<p>Jorge Luis Borges, Theme of the Traitor and the Hero<p>James Baldwin, Sonny&rsquo;s Blues<p>Chinua Achebe, A Civil Peace<p>Leslie Marmon Silko, Yellow Woman<p>Kazuo Ishiguro, Family Dinner<p>David Leavitt, Territory<p>Amy Hempel, In the Cemetery Where Al Jolson is Buried<p>Lorrie Moore, How to Become a Writer<p>Sherman Alexie, Lone Ranger & Tonto Fistfight in Heaven<p>Stuart Dybek, We Didn&rsquo;t<p>Inspiration&#58; From Verse to Prose&#58; Yehuda Amichai&rsquo;s &ldquo;We Did It&rdquo; and Dybek&rsquo;s &ldquo;We Didn&rsquo;t&rdquo;<p>Andrea Barrett, Rare Bird<p>Ha Jin, Saboteur<p>PART II&#58; POETRY <p>10. Poems&#58; Tone, Image, Language<p>Shaping Experience<p>Paul Laurence Dunbar, We Wear the Mask<p>Literary and VIRTUAL Locale&#58; Paul Laurence Dunbar House&mdash;Dayton, Ohio<p>Tone<p>Linda Pastan, Marks<p>D.H. Lawrence, Piano<p>For Further Reading&#58; Tone<p>Ezra Pound, The River Merchant&rsquo;s Wife&#58; A Letter<p>Inspiration&#58; Two Additional Translations of Li Po&rsquo;s Poem<p>Philip Larkin, This Be The Verse<p>Virtual Locale&#58; The Lannan Foundation and Louise Gl&uuml;ck<p>Louise Gl&uuml;ck, The Red Poppy<p>Audio Locale&#58; Louise Gl&uuml;ck&rsquo;s &ldquo;The Red Poppy&rdquo;<p>Margaret Atwood, Siren Song<p>Images and Imagery<p>Ezra Pound, In a Station of the Metro<p>William Shakespeare, Sonnet 73<p>For Further Reading&#58; Images and Imagery<p>Robert Burns, My Luve&rsquo;s like a Red, Red Rose<p>Sylvia Plath, Metaphors<p>Wallace Stevens, Thirteen Ways of Looking at a Blackbird<p>Adrienne Rich, Diving into the Wreck<p>Inspiration&#58; Adrienne Rich Rethinks Emily Dickinson<p>Poetic Language<p>Emily Dickinson, I like to see it lap the miles<p>William Butler Yeats, The Lake Isle of Innisfree<p>Literary Locale&#58; Yeats and the Landscape in Sligo, Ireland<p>Inspiration&#58; U2&rsquo;s Bono&mdash;The Yeats of Our Time?<p>Before the World Was Made<p>Commentary&#58; Louise Gl&uuml;ck on Poetic Language<p>For Further Reading&#58; Poetic Language<p>Frank O&rsquo;Hara, The Day Lady Died<p>Audio Locale&#58; Lady Sings the Blues<p>Thomas Gray, Ode on the Death of a Favorite Cat, Drowned in a Tub of Goldfishes<p>Phyllis Wheatley, On Being Brought from Africa to America<p>Henry Wadsworth Longfellow, Snow-Flakes<p>Jimmy Santiago Baca, Green Chile<p>Struggles Over Poetic Language<p>11. Poems&#58; Meter, Stanza, Form<p>Meter<p>William Langland, From Piers Plowman<p>John Newton, From Amazing Grace<p>Iamb<p>Trochee<p>Anapest<p>Dactyl<p>John Hollander, Historical Reflection<p>Spondee<p>Feet<p>Blank verse<p>William Shakespeare, From Macbeth<p>John Milton, From Paradise Lost<p>Elizabeth Barrett Browning, From Aurora Leigh<p>For Further Reading&#58; Meter<p>Robert Frost, Stopping by Woods on a Snowy Evening<p>Literary Locale&#58; The Robert Frost Place, Franconia, New Hampshire<p>Ben Jonson, Song&#58; To Celia<p>A.E. Housman, When I Was One-and-Twenty<p>Stanza<p>Alexander Pope, From The Rape of the Lock<p>Percy Bysshe Shelley, From Ode to the West Wind<p>Anonymous, From Bonny Barbara Allan<p>Free verse<p>Walt Whitman, When I heard the Learn&rsquo;d Astronomer<p>William Carlos Williams, The Red Wheelbarrow<p>William Carlos Williams, This Is Just to Say<p>Inspiration&#58; William Carlos Williams and Tino Villaneuva<p>For Further Reading&#58; Stanza<p>William Carlos Williams, The Great Figure<p>Inspiration&#58; Charles Demuth&#39;s painting The Figure 5 in Gold<p>George Herbert, Easter Wings<p>William Wordsworth, A Slumber Did My Spirit Seal<p>Adrienne Rich, Aunt Jennifer&rsquo;s Tigers<p>Video Locale&#58; Adrienne Rich and The Lannan Foundation<p>Form<p>Sonnet<p>John Keats, On First Looking into Chapman&rsquo;s Homer<p>John Keats, When I Have Fears That I May Cease to Be<p>Edna St. Vincent Millay, I will put Chaos into fourteen lines<p>Billy Collins, Sonnet<p>Commentary&#58; Billy Collins on American Poetry<p>John Milton, On His Blindness<p>Robert Frost, Once by the Pacific<p>Alice Oswald, Wedding<p>Weldon Kees, For My Daughter<p>Elegy<p>Ben Jonson, On My First Son<p>Thomas Gray, Sonnet on the Death of Richard West<p>Samuel Johnson, On the Death of Mr. Robert Levet, a Practiser in Physic<p>Chidiock Tichborne, Elegy Written with His Own Hand in the Tower before His Execution<p>E.E. Cummings, Buffalo Bill&rsquo;s<p>Inspiration&#58; Cummings and Bjork&#58; Poetry as Pop Song<p>I will wade out<p>It may not always be so<p>Aubade<p>William Shakespeare, Aubade from Cymbeline<p>Amy Lowell, Aubade<p>John Donne, The Sun Rising<p>Richard Wilbur, A Late Aubade<p>Terese Svoboda, Aubade<p>Barbara Lau, Aubade/Iowa<p>Philip Larkin, Aubade<p>William Shakespeare, Aubade from Romeo and Juliet<p>Villanelle<p>Elizabeth Bishop, One Art<p>Video Locale&#58; Documentary on Elizabeth Bishop<p>Dylan Thomas, Do not go gentle into that good night<p>For Further Reading&#58; Form<p>Theodore Roethke, The Waking<p>Robert Frost, Design<p>Edna St. Vincent Millay, Love Is Not All&#58; It Is Not Meat nor Drink<p>Gertrude Schnackenberg, Signs<p>Marge Piercy, Barbie Doll<p>Michael Drayton, Since There&rsquo;s No Help<p>Edmund Spenser, One day I wrote her name upon the strand<p>Thomas Hardy, The Darkling Thrush<p>During Wind and Rain<p>Gerard Manly Hopkins, God&rsquo;s Grandeur<p>The Windhover<p>12. Writing about Poetry<p>The Cultural Conversation<p>Reviews<p>Short Review&#58; The Collected Poems of Robert Lowell, ed. by Frank Bidart and David Gewanter<p>Full Review&#58; The Collected Poems of Robert Lowell, ed. by Frank Bidart and David Gewanter<p>Beyond Reviews&#58; Criticism<p>Popular Criticism<p>Scott Thrill, Eminem vs. Robert Frost<p>Scholarly Articles or Works<p>Edward Hirsch, From How to Read a Poem<p>How to Enter the Conversation<p>Questions to Develop Ideas about a Poem<p>Point of View<p>Language<p>Setting<p>Character<p>Plot<p>Links to Other Texts<p>Response<p>Virtual Locale&#58; Poetry Websites and Blog<p>Formats for Writing about Poems<p>Annotating a Poem<p>Annotations forDickinson&rsquo;s &ldquo;After Great Pain&rdquo;<p>Summarizing or Paraphrasing a Poem<p>Summary of &ldquo;After Great Pain&rdquo;<p>Paraphrase of &ldquo;After Great Pain&rdquo;<p>Keeping a Personal Journal<p>Double-Entry Reaction Journal on &ldquo;After Great Pain&rdquo;<p>Writing a Response Paper<p>From a Response Paper to &ldquo;After Great Pain&rdquo;<p>Writing an Intervention<p>Inspiration&#58; Two Poets Respond to Emily Dickinson<p>Francis Heaney, Skinny Domicile [An anagram of Emily Dickinson]<p>Billy Collins,Taking Off Emily Dickinson&rsquo;s Clothes<p>Writing an Explication<p>Student Explication of &ldquo;After Great Pain&rdquo;<p>Professional Explication of &ldquo;After Great Pain&rdquo;<p>Writing an Analytical Essay<p>Student Analytical Essay of &ldquo;After Great Pain&rdquo;<p>13. A Poet in Depth&#58; Walt Whitman<p>Inspiration&#58; Ralph Waldo Emerson&rsquo;s Letter to Whitman<p>Virtual Locale&#58; The Whitman Electronic Archive<p>Walt Whitman Timeline<p>Literary Locale&#58; Walt Whitman House, Camden, New Jersey<p>Poems by Walt Whitman<p>From Song of Myself<p>Audio Locale&#58; Whitman Reading &ldquo;America&rdquo;<p>Crossing Brooklyn Ferry<p>Literary Locale&#58; Whitman in New York<p>Out of the Cradle Endlessly Rocking<p>When Lilacs Last in the Dooryard Bloom&rsquo;d<p>O Captain! My Captain!<p>Inspiration&#58; Whitman and the Civil War<p>A Noiseless Patient Spider<p>Inspiration&#58; The Music of Whitman<p>I Hear America Singing<p>Literary Locale&#58; The &ldquo;I Hear America Singing&rdquo; Mural, Bronx, New York<p>When I Heard at the Close of the Day<p>I Saw in Louisiana a Live-Oak Growing<p>Video Locale&#58; Whitman in Video<p>Cavalry Crossing a Ford<p>The Wound-Dresser<p>Commentary&#58; Walt Whitman on his Art and Poetry<p>Commentary&#58; Four Poets Inspired by Whitman<p>Langston Hughes, Old Walt<p>Kenneth Koch, Whitman&rsquo;s Words<p>Marge Piercy, How I Came to Walt Whitman and Found Myself<p>Alicia Ostriker, Loving Walt Whitman and the Problem of America<p>14. A Poet in Depth&#58; Emily Dickinson<p>Literary Locale&#58; The Emily Dickinson Museum<p>Emily Dickinson Timeline<p>Poems by Emily Dickinson<p>I heard a Fly buzz&mdash;when I died<p>Because I could not stop for Death<p>A narrow Fellow in the Grass<p>Inspiration&#58;Three Poets Write of Emily Dickinson<p>Hart Crane, To Emily Dickinson<p>Linda Pastan, Emily Dickinson<p>Wild Nights&mdash;Wild Nights!<p>It dropped so low&mdash;in my Regard&mdash;<p>I taste a liquor never brewed<p>Safe in their Alabaster Chambers<p>There&rsquo;s a certain Slant of light<p>I felt a Funeral, in my Brain<p>Inspiration&#58;<p>&ldquo;In My Dreams Awake&rdquo;&#58; Photos by John Dugdale and Dickinson&rsquo;s Poetry<p>Elysium is as far to<p>We grow accustomed to the Dark<p>The Soul selects her own Society<p>My Life had stood&mdash;a Loaded Gun&mdash;<p>Video Locale&#58; Loaded Gun&#58; Life, Death, and Dickinson<p>Tell all the Truth but tell it slant<p>As imperceptibly as Grief<p>&lsquo;Faith&rsquo; is a fine invention<p>From all the Jails, the boys and girls<p>The Bible is an antique Volume&mdash;<p>Audio Locale&#58; The Songs of Emily Dickinson<p>Much Madness is divinest Sense&mdash;<p>Beauty be not caused, it is<p>On a columnar Self<p>Commentary&#58; Excerpts from Selected Reviews<p>Commentary&#58; Emily Dickinson in her Letters<p>15. A Poet in Depth&#58; Gwendolyn Brooks <p>Literary Locale&#58;Brooks inBronzeville, Chicago<p>Gwendolyn Brooks Timeline<p>Poems by Gwendolyn Brooks<p>Kitchenette Building<p>Sadie and Maud<p>The Mother<p>the preacher&#58; ruminates behind the sermon<p>Gay Chaps at the Bar<p>What shall I give my children? who are poor (Sonnet 2)<p>First Fight. Then Fiddle (Sonnet 4)<p>In Honor of David Anderson Brooks, My Father<p>Beverly Hills, Chicago<p>The Bean Eaters<p>Audio Locale&#58; Brooks Reading Her Poetry<p>Audio Locale&#58; Brooks Reading &ldquo;We Real Cool&rdquo;<p>Commentary&#58; Gwendolyn Brooks on the Men in &ldquo;We Real Cool&rdquo;<p>A Bronzeville Woman Loiters in Mississippi&hellip;<p>Crazy Woman<p>Ballad of Rudolph Reed<p>Inspiration&#58;Artists of Inspiration&#151;Hughes, Frost, and Robeson<p>Langston Hughes<p>Of Robert Frost<p>Paul Robeson<p>The Sermon on the Warpland<p>The Second Sermon on the Warpland<p>From In the Mecca<p>Inspiration&#58; Brooks and Emily Dickinson<p>Myself<p>Commentary&#58; Gwendolyn Brooks on her Life and the Art of Poetry<p>Commentary&#58; Excerpts from Selected Reviews<p>Inspiration&#58;The Wall of Respect, Chicago<p>The Wall<p>16. Passionate Verse&#58; Love Poetry of the English Renaissance <p>English Renaissance Timeline<p>Sir Philip Sidney, Loving in Truth<p>Pastoral Poems<p>Christopher Marlowe, The Passionate Shepherd to his Love<p>Inspiration&#58; Sir Walter Raleigh&rsquo;s Nymph&mdash;Talking Back to Marlowe&rsquo;s Shepherd Poems on Clothing<p>Ben Jonson, Still to Be Neat, Still to Be Drest<p>Robert Herrick, Delight in Disorder<p>Upon Julia&#39;s Clothes<p>Virtual Locale&#58; Elizabethan Clothing<p>Carpe Diem Poems<p>Robert Herrick, To Virgins, to Make Much of Time<p>Andrew Marvell, To His Coy Mistress<p>Poems and Music<p>Thomas Campion, When Thou Must Home to Shades of Underground<p>Fire, Fire, Fire<p>Shakespearean Love Sonnets<p>William Shakespeare, Sonnet 18<p>Audio and Virtual Locale&#58; Sir John Gielgud Reading the Shakespearean Sonnets<p>Sonnet 55<p>Sonnet 106<p>Audio Locale&#58; Shakespearean Sonnets Out Loud&mdash;Sung and Spoken<p>Sonnet 116<p>Sonnet 130<p>INSPIRATION&#58; Shakespeare&rsquo;s Sonnet 130 and Sting&rsquo;s &ldquo;Sister Moon&rdquo;<p>Sonnet 138<p>INSPIRATION&#58; Love&rsquo;s Fire&mdash;Shakespeare&rsquo;s Sonnets from Page to Stage<p>Garden scene from Romeo and Juliet<p>INSPIRATION&#58; Romeo and Juliet&#58; The Garden Scene, From Stage to Screen<p>VIDEO AND VIRTUAL LOCALE&#58; Trailer for George Cukor&rsquo;s 1936 film, Romeo and Juliet<p>VIRTUAL LOCALE&#58; Two Versions of the Famous Romeo and Juliet Garden Scene<p>Women&rsquo;s Voices in the English Renaissance<p>Lady Mary Wroth, Am I Thus Conquer&#39;d? Have I Lost the Powers<p>When every one to pleasing pastime hies<p>How fast thou fliest, O time, on loues swift wings<p>My paine still smother&#39;d in my grieved brest<p>Ben Jonson, A Sonnet to the Noble Lady, the Lady Mary Wroth<p>Katherine Philips, Against Love<p>A Married State<p>To My Excellent Lucasia, On Our Friendship<p>Anne Bradstreet, To My Dear and Loving Husband<p>Commentary&#58; Virginia Woolf&rsquo;s A Room of One&rsquo;s Own<p>17. Writing Out Loud&#58; Popular Victorian Narratives<p>Poetry&rsquo;s Oral Beginnings<p>Virtual Locale&#58; Aural Poetry on the Web<p>Poetry Readings at Home<p>Professional Authors on the Stage<p>Inspiration&#58; Modern Poetry Out Loud&mdash;From Beat Poets to Russell Simmons&rsquo; Def Poetry Jam<p>Professonal Readers<p>Video Locale&#58; Fooling With Words with Bill Moyers<p>Elocution<p>Victorian Narratives Timeline<p>Clement Clark Moore, A Visit from St. Nicholas<p>Ernest L. Thayer, Casey at the Bat<p>Felicia Hemans, Casabianca<p>INSPIRATION&#58; Elizabeth Bishop Responds to Felicia Hemans<p>Letitia Elizabeth Landon, The Proud Layde<p>Edgar Allan Poe, The Raven<p>Commentary&#58; Poe on the Composition of &ldquo;The Raven&rdquo;<p>Literary and Virtual Locale&#58; Poe Historical Sites<p>Annabelle Lee<p>Video Locale&#58; Poe on American Masters<p>Henry Wadsworth Longfellow, from The Building of the Ship<p>Inspiration&#58; Sonnet on Mrs. Kemble&rsquo;s Reading from Shakespeare<p>The Wreck of the Hesperus<p>Inspiration&#58; George Harrison Riffing on Longfellow<p>Robert Browning, My Last Duchess<p>Elizabeth Barrett Browning, Mother and Poet<p>Walt Whitman, O Captain! My Captain!<p>Alfred, Lord Tennyson, Ulysses<p>The Charge of the Light Brigade<p>18. Poems for Further Reading <p>A Brief Note on the Sequencing of the Poems<p>Video Locale&#58; Robert Pinsky&rsquo;s Favorite Poems Project<p>Robert Southwell, The Burning Babe<p>John Donne, First Anniversary<p>A Valediction&#58; Forbidding Mourning<p>Batter My Heart Three Personed God<p>The Canonization<p>Death be not Proud<p>The Flea<p>The Relic<p>The Anniversarie<p>Ben Jonson, Come, my Celia, let us prove<p>On My First Daughter<p>George Herbert, The Pulley<p>The Windows<p>John Milton, How Soon Hath Time<p>Richard Lovelace, To Lucasta, Going to the Wars<p>Andrew Marvell, The Garden<p>Mary, Lady Chudleigh, To the Ladies<p>Jonathan Swift, A Description of the Morning<p>Samuel Johnson, Prologue Spoken by Mr. Garrick at the Opening of the Theatre in Drury-Lane, 1747<p>Christopher Smart, For I will consider my cat Jeoffry<p>William Cowper, The Castaway<p>William Blake, Infant Joy<p>The Lamb<p>The Tyger<p>Infant Sorrow<p>A Poison Tree<p>The Sick Rose<p>Virtual Locale&#58; The William Blake Archive<p>William Wordsworth, Lines Composted a Few Miles Above Tintern Abbey<p>Composed upon Westminster Bridge, September 3, 1802<p>It is a Beauteous Evening<p>London, 1802<p>My Heart Leaps Up When I Behold<p>The World Is Too Much with Us<p>Surprised by Joy<p>Mutability<p>Samuel Taylor Coleridge, Kubla Khan<p>Dejection&#58; An Ode<p>George Gordon, Lord Byron, When We Two Parted<p>The Destruction of Sennacherib<p>She Walks in Beauty<p>Percy Bysshe Shelley, Ozymandias<p>Ode to the West Wind<p>When the lamp is shattered<p>England in 1819<p>John Clare, Badger<p>John Keats, La Belle Dame sans Merci<p>Ode to a Nightingale<p>Ode on a Grecian Urn<p>The Eve of St. Agnes<p>To Autumn<p>Elizabeth Barrett Browning, How Do I Love Thee<p>Henry Wadsworth Longfellow, Mezzo Cammin<p>Aftermath<p>Edgar Allen Poe, The Bells<p>Alfred Tennyson, Break, Break, Break<p>Now Sleeps the Crimson Petal<p>Tears, Idle Tears<p>Robert Browning, My Last Duchess<p>Meeting at Night<p>Parting at Morning<p>Matthew Arnold, Dover Beach<p>Inspiration&#58; Anthony Hecht&rsquo;s The Dover Bitch<p>Christina Rossetti, Song<p>Lewis Carroll [Charles Ludwig Dodgson], Jabberwocky<p>Thomas Hardy, Hap<p>The Darkling Thrush<p>The Convergence of the Twain<p>During Wind and Rain<p>Gerard Manly Hopkins, Spring and Fall<p>Emma Lazarus, The New Colossus<p>A.E. Housman, Loveliest of trees, the cherry now<p>Eden Phillpotts, The Learned<p>W.B. Yeats, The Song of the Wandering Angus<p>The Scholars<p>The Wild Swans at Coole<p>The Second Coming<p>Leda and the Swan<p>Sailing to Byzantium<p>Virtual Locale&#58; Boland on Yeats&mdash;Branching Out Lecture Series<p>Paul Lawrence Dunbar, Theology<p>Sympathy<p>Robert Gould Shaw<p>Robert Frost, Mending Wall<p>The Road Not Taken<p>For Once, Then, Something<p>Once by the Pacific<p>Audio Locale&#58; Frost Reading &ldquo;The Road Not Taken&rdquo;<p>Rainer Maria Rilke, Archaic Torso of Apollo (trans. by Stephen Mitchell)<p>Carl Sandburg, Chicago<p>Wallace Stevens, The Emperor of Ice Cream<p>Anecdote of the Jar<p>The Snow Man<p>The Idea of Order at Key West<p>The House Was Quiet and the World Was Calm<p>Literary Locale&#58; Stevens Walking Tour, Hartford, Connecticut<p>William Carlos Williams, Landscape with the Fall of Icarus<p>Virtual Locale&#58; Pinsky on Williams&mdash;Branching Out Lecture Series<p>Marianne Moore, Poetry<p>Robinson Jeffers, Continent&rsquo;s End<p>Carmel Point<p>T.S. Eliot, The Love Song of J. Alfred Prufrock<p>Audio Locale&#58; Eliot Reading Prufrock<p>Preludes<p>Audio Locale&#58; NPR&rsquo;s top 15 American Poems of the 20^th Century<p>Edna St. Vincent Millay, Recuerdo<p>What lips my lips have kissed<p>Wilfred Owen, Anthem for Doomed Youth<p>Dulce et decorum est<p>Louise Bogan, Women<p>Federico Garc&iacute;a Lorca, Arbol&eacute;, Arbol&eacute; (trans. by William Logan)<p>Langston Hughes, The Negro Speaks of Rivers<p>Audio Locale&#58; Hughes Reading &ldquo;The Negro Speaks of Rivers&rdquo;<p>Theme for English B<p>Advice<p>Virtual Locale&#58; Pinsky on Williams and Frost&mdash;Branching Out Poetry Lecture Series<p>Stevie Smith, Not Waving But Drowning<p>The Heavenly City<p>Countee Cullen, Yet Do I Marvel<p>Pablo Neruda, Oblivion<p>The Potter<p>The Son<p>W.H. Auden, Stop All the Clocks, Cut Off the Telephone<p>Mus&eacute;e des Beaux Arts<p>September 1, 1939<p>Audio Locale&#58; Auden Reading at the 92^nd Street Y<p>Theodore Roethke, My Papa&rsquo;s Waltz<p>Root Cellar<p>Elizabeth Bishop, At the Fishhouses<p>First Death in Nova Scotia<p>The Moose<p>Czeslaw Milosz, After Paradise<p>Robert Hayden, Homage to the Empress of the Blues<p>Those Winter Sundays<p>Octavio Paz, With Our Eyes Shut/Con Los Ojos Cerrados<p>William Stafford, Ask Me<p>Waiting in Line<p>Dylan Thomas, Fern Hill<p>In My Craft or Sullen Art<p>Robert Lowell, Skunk Hour<p>Amy Clampitt, On the Disadvantages of Central Heating<p>Richard Hugo, Degrees of Gray in Phillipsburg<p>Denise Levertov, The Ache of Marriage<p>The Wedding-Ring<p>Jack Gilbert, The Forgotten Dialect of the Heart<p>A.R. Ammons, The City Limits<p>Allen Ginsberg, A Supermarket in California<p>Audio Locale&#58; Ginsberg Reading &ldquo;A Supermarket in California&rdquo;<p>First Party at Ken Kesey&rsquo;s with Hell&rsquo;s Angels<p>James Merrill, To a Butterfly<p>Frank O&rsquo;Hara, Why I Am Not a Painter<p>Inspiration&#58; Frank O&rsquo;Hara and the New York School of Painters<p>Ave Maria<p>Digression on Number 1, 1948<p>In Memory of My Feelings<p>John Ashbery, Paradoxes and Oxymorons<p>Galway Kinnell, After Making Love We Hear Footsteps<p>Blackberry Eating<p>W.S. Merwin, One of the Lives<p>James Wright, A Blessing<p>Lying in a Hammock at William Duffy&rsquo;s Farm in Pine Island, Minnesota<p>Philip Levine, Animals are Passing from Our Lives<p>Anne Sexton, The Starry Night<p>Two Hands<p>Adrienne Rich, Moving in Winter<p>Living in Sin<p>Gary Snyder, Above Pate Valley<p>Derek Walcott, Midsummer, Tobago<p>Geoffrey Hill, September Song<p>Linda Pastan, Agoraphobia<p>Sylvia Plath, Mushrooms<p>The Mirror<p>Daddy<p>Audre Lorde, Coal<p>Mark Strand, Keeping Things Whole<p>Mary Oliver, The Wild Geese<p>When Death Comes<p>Lucille Clifton, homage to my hips<p>Audio Locale&#58; Clifton Reading &ldquo;homage to my hips&rdquo;<p>Charles Simic, Eyes Fastened With Pins<p>Margaret Atwood, This is a Photograph of Me<p>Siren Song<p>February<p>Frank Bidart, Hammer<p>Seamus Heaney, Digging<p>From the Frontier of Writing<p>The Summer of Lost Rachel<p>Billy Collins, Picnic, Lightning<p>Audio Locale&#58; Billy Collins on National Public Radio<p>Toi Derricotte, Black Boys Play the Classics<p>Robert Hass, Meditation at Lagunitas<p>A Story about the Body<p>Marilyn Hacker, Sonnet<p>William Matthews, An Airline Breakfast<p>Pat Mora, La Migra<p>Sharon Olds, Sex Without Love<p>Tess Gallagher, I Stop Writing This Poem<p>Nikki Giovanni, Ego Tripping<p>Louise Gl&uuml;ck, Mock Orange<p>The School Children<p>James Tate, Where Babies Come From<p>Eavan Boland, Anorexic<p>The Dolls Museum in Dublin<p>Mary Kinzie, Beautiful Days<p>Ira Sadoff, Nazis<p>Linda Hogan, First Light<p>Jane Kenyon, Let Evening Come<p>Yusef Komunyakaa, Facing It<p>Wendy Rose, For the White Poets Who would be Indian<p>Agha Shahid Ali, The Country Without a Post Office<p>Julia Alvarez, Dusting<p>Anne Carson, Helen<p>Carolyn Forche, The Colonel<p>Jorie Graham, Over and Over Stitch<p>The Way Things Work<p>Brooks Haxton, Again Consider the Wind<p>Ed Hirsch, Fast Break<p>Marie Howe, Isaac<p>Garrett Hongo, The Legend<p>Brigit Pegeen Kelly, River of Heaven<p>Judith Ortiz Cofer, Quincea&ntilde;era<p>Rita Dove, Describe Yourself in Three Words or Less<p>Soprano<p>Cynthia Huntington, Breaking<p>Linton Kwesi Johnson, Sense Outa Nonsense<p>Dorianne Laux, For My Daughter Who Loves Animals<p>Naomi Shahib Nye, Rain<p>Gary Soto, Oranges<p>Black Hair<p>Susan Stewart, Kingfisher Carol<p>Rosanna Warren, Simile<p>Sandra Cisneros, Loose Woman<p>Marilyn Chin, Composed Near the Bay Bridge<p>Cathy Song, Beauty and Sadness<p>A Conservative View<p>Henri Cole, Myself With Cats<p>Martin Espada, Public School 190, Brooklyn, 1963<p>The Bouncer&rsquo;s Confession<p>Li-Young Lee, From Blossoms<p>Lucia Perillo, The Afterlife of the Fifties Dad<p>The Crows Start Demanding Royalties<p>Elizabeth Alexander, Affirmative Action Blues (1993)<p>Deborah Garrison, A Working Girl Can&rsquo;t Win<p>Sherman Alexie, Evolution<p>19. Biographies of Selected Poets <p>PART III&#58; DRAMA<p>Plays&#58; Action and Performance<p>Seeing vs. Reading<p>Talking about Drama<p>Susan Glaspell, Trifles<p>INSPIRATION&#58; Glaspell&rsquo;s A Jury of Her Peers<p>Drama as Action<p>Audio Locale&#58; Scribbling Women&rsquo;s A Jury of Her Peers<p>Performance Notes&#58; Trifles in Performance<p>Virtual Locale&#58;American Literature on the Web&mdash;Susan Glaspell<p>Lady Gregory, Spreading the News<p>Performance Notes&#58; Spreading the News in Performance<p>Virtual Locale&#58; Gregory&rsquo;s Our Irish Theatre Online<p>David Ives, The Philadelphia<p>Performance Notes&#58; The Philadelphia in Performance<p>Inspiration&#58; Ives on the Power of Theater<p>Writing about Plays<p>The Cultural Conversation<p>Reviews<p>Full Review<p>Chris Rohmann, Opening Night Review&#58; Art<p>Ross Wetzsteon, Janet McTeer in A Doll&rsquo;s House<p>Brief Reviews<p>Beyond Reviews&#58; Criticism<p>How to Enter the Conversation?<p>Virtual Locale&#58;Blogging about Plays<p>Questions to Develop Ideas About a Play<p>Point of View<p>Language<p>Setting<p>Character<p>Plot<p>Links to Other Texts<p>Response<p>Formats for Writing about Plays<p>Annotating a Play<p>Annotations forGlaspell&rsquo;s Trifles<p>Keeping a Personal Journal<p>Double-Entry Reaction Journal for Spreading the News<p>Writing a Response Paper<p>From a Response Paper to [EXAMPLE TK]<p>Writing an Intervention<p>Inspiration&#58; Muriel Rukeyser on Oedipus<p>Muriel Rukeyser, Myth<p>Writing a Critical Analysis<p>Critical Analysis of Glaspell&rsquo;s Trifles<p>A Playwright in Depth&#58; Sophocles<p>Theater in Sophocles&rsquo; Time<p>Literary Locale&#58; The Greek Theater<p>Ritual and Religion in Greek Drama<p>video locale&#58; Joseph Campbell and The Power of Myth<p>Tragedy in Greek Drama<p>Performance Notes on Greek Drama<p>Modern Setting and Dress<p>Major Alterations<p>Language<p>The Greek Canon<p>Greek Drama on the American Stage<p>Sophocles Timeline<p>Plays by Sophocles<p>Oedipus The King (translated by Robert Fagles)<p>Commentary&#58; Aristotle on Tragedy and Oedipus Rex<p>Commentary&#58; Other Critical Responses to Oedipus&mdash;Freud, Dodds, and Artaud<p>Sigmund Freud, On the Oedipus Complex<p>E.R. Dodds, disagreeing with Freud, from &ldquo;On Misunderstanding the Oedipus Rex&rdquo;<p>Antonin Artaud, from The Theater and its Double<p>INSPIRATION&#58; The Oedipal Complex on Film<p>Antigone (translated by Dudley Fitts and Robert Fitzgerald)<p>Antigone on the American Stage<p>Audio Locale&#58; Antigone and Modern-Day Current Events<p>Inspiration&#58; Antigone Abroad<p>23. A Playwright in Depth&#58; William Shakespeare <p>Literary Locale&#58; The Globe Theater, London<p>William Shakespeare Timeline<p>Video Locale&#58; Will the Real Will Please Stand Up?&mdash;The Shakespeare Debate<p>Performance Notes on Shakespearean Drama<p>To Cut or Not to Cut?<p>Radical Changes<p>Modern Dress<p>Casting the Play<p>Inspiration&#58; Shakespeare in the Modern Movies<p>Plays by Shakespeare<p>Reading The Tempest<p>The Tempest (edited by David Bevington)<p>Inspiration&#58; The Tempest in Film and Verse<p>The Tempest in Performance<p>Cultural Context for The Tempest&#58; O Brave New World<p>AUDIO LOCALE&#58; Songs from Shakespeare&rsquo;s Plays<p>Inspiration&#58; Retelling The Tempest&mdash;On Film and In Verse<p>Commentary&#58; Aime Cesaire, A Tempest (translated by Richard Miller)<p>Hamlet, Prince of Denmark (edited by David Bevington)<p>Inspiration&#58; Stoppard&rsquo;s Rosencrantz and Guildenstern are Dead<p>Commentary&#58; Danitra Vance, Flotilda Williams as Juliet<p>Othello, The Moor of Venice (edited by David Bevington)<p>Virtual Locale&#58; Shakespeare on the Web<p>Drama Becomes Modern<p>LITERARY LOCALE&#58; The Ibsen Museum in Oslo, Norway<p>Henrik Ibsen, A Doll House (translated by Rolf Fjelde)<p>Inspiration&#58; A &ldquo;Little&rdquo; Doll&rsquo;s House<p>Virtual Locale&#58; Ibsen on the Net<p>Performance Notes on Modern Theater<p>New Plays, New Audiences<p>Changing the Stage<p>Psychology, "The Method," and Politics<p>Tennessee Williams, The Glass Menagerie<p>Literary Locale&#58; The Tennessee Williams/New Orleans Literary Festival<p>Arthur Miller, Death of a Salesman<p>Audio Locale&#58; Retrospective of a Master Playwright<p>INSPIRATION&#58; Bright Futures in Sales<p>Audio Locale&#58; 50th Anniversary of Death of a Salesman<p>Commentary&#58; Arthur Miller on Trial<p>25. Sweet Home Chicago&#58; From Renaissance to A Raisin in the Sun <p>VIDEO LOCALE&#58; George King&rsquo;s Goin&rsquo; to Chicago<p>Chicago Renaissance Timeline<p>St. Clair Drake and Horace R. Cayton, from Bronzeville<p>LITERARY LOCALE&#58; Parkway Community House&mdash;Bronzeville, Chicago<p>Poetry of the Chicago Renaissance<p>Gwendolyn Brooks, We Real Cool<p>The Lovers of the Poor<p>LITERARY LOCALE&#58; Chicago&rsquo;s South Side Community Art Center<p>Frank Marshall Davis, I Sing No New Songs<p>Robert Whitmore<p>Margaret Walker, I Want to Write<p>For My People<p>Margaret Danner, Far From Africa&#58; Four Poems<p>AUDIO LOCALE&#58; Hughes and Danner&rsquo;s "Writers of the Revolution" Discussion<p>The Blues<p>VIDEO, AUDIO, and VIRTUAL LOCALE&#58; Martin Scorsese&rsquo;s The Blues<p>Robert Johnson, Sweet Home Chicago<p>McKinley Morganfield (Muddy Waters), Rolling Stone<p>Willie Dixon, Spoonful<p>LITERARY AND AUDIO LOCALE&#58; The Chicago Blues&mdash;Chess Records<p>Commentary on the Blues<p>LITERARY AND VIRTUAL LOCALE&#58; Chicago Blues Archive<p>Gospel<p>Thomas A. Dorsey, Precious Lord Take My Hand<p>Sam Cooke, If I Could Just Touch the Hem of His Garment<p>A Change Is Gonna Come<p>VIRTUAL LOCALE&#58; Encyclopedia of Chicago Website<p>Stories of the Chicago Renaissance<p>Gwendolyn Brooks, &ldquo;Home&rdquo; from Maud Martha<p>Richard Wright, The Man Who Lived Underground (in fiction)<p>Commentary&#58; On Richard Wright<p>Margaret Walker, Richard Wright and the Writer&rsquo;s Art from Daemonic Genius<p>INSPIRATION&#58; Literature on the Newsstands of Chicago<p>Langston Hughes, In the Dark<p>Commentary&#58; A Literary Correspondence&#58; Langston Hughes-Arna Bontemps<p>Cyrus Colter, Mary&rsquo;s Convert<p>Plays in the Chicago Renaissance<p>Lorraine Hansberry, A Raisin in the Sun<p>Inspiration&#58; Hughes and Hansberry&#58; What Happens to a Dream Deferred?<p>26. From Avant-Garde to Contemporary Theater<p>Performance Notes on Contemporary Theater<p>Pushing Boundaries<p>Designer Theater<p>Breaking the Fourth Wall<p>Samuel Beckett, Not I<p>Commentary&#58; Beckett&rsquo;s Legacy in the Drama World<p>Luis Valdez, Los Vendidos<p>Literary Locale&#58; El Teatro Campesinoin California<p>Philip Kan Gotanda, The Wash<p>Virtual Locale&#58; Philip Kan Gotanda&rsquo;s Website<p>August Wilson, The Piano Lesson<p>VIDEO LOCALE&#58; The Piano Lesson on Screen<p>Inspiration&#58; August Wilson and the Blues<p>Anna Deavere Smith, From Twilight, Los Angeles 1992 (selections)<p>Video Locale&#58; Twilight&#58; Los Angeles, 1992, From Stage to Screen<p>Inspiration&#58;A New Generation of One-Woman Acts on Stage<p>Part IV&#58; LITERARY RESEARCH <p>The Literature Research Project<p>Understanding Literary Research<p>Entering the Cultural Conversation about Literature<p>Choosing a Topic<p>Narrowing Your Topic and Developing a Research Question<p>Determining Your Purpose&#58; Types of Literary Research Projects<p>Distinguishing Between Expository Essays and Literary Arguments<p>The Research Process&#58; A Step-By Step Summary<p>Finding and Evaluating Sources<p>Finding Sources<p>Annotated References for Literary Research<p>Annotated Library Subscription Databases for Literary Research<p>Evaluating Sources<p>Print Sources<p>Internet Sources<p>Taking Adequate Notes<p>The Actual Writing Process<p>Drafting a Thesis<p>Creating an Outline<p>Writing a First Draft<p>Revising and Editing<p>Avoiding Plagiarism<p>Academic Honesty<p>Unintentional Plagiarism<p>An Example of Plagiarism and How to Prevent It<p>Documenting Sources<p>Using Parenthetical Citations in Your Text<p>Integrating Quotations<p>Formatting Literary Quotations from Stories, Plays, and Stories<p>Creating the Works Cited Page<p>Sample Literary Research Project&#58; From Question to Finished Paper<p>Class Assignment Sheet for Research Project<p>Sample Student Prospectus<p>Sample Student Thesis and Outline<p>Sample Student Research Paper<p>Glossary of Literary Terms<p>Credits<p>Index of Authors and Titles<p>Index of First Lines of Poetry<p>

<p>Cultural Writing. Poetry. Essays. As a leading interpreter of border life and culture, Allicia Gaspar Alba, a lesbian chicana poet, storyteller, and essayist explores the borders and limits of place, body, and language through a painful series of moves and losses. In sections divided into each of the places she visited in her travels, Alba incorporates the Mexican archetypal wailing woman who wanders in search of her lost children. LA LLORONA proves to be more than an archetype: it is a tour guide through the constant presence of the poet's voice. Alicia Gapar de Alba is also the co- editor of AZTLAN: A JOURNAL OF CHICANO STUDIES and the author of the acclaimed novel Sor Juana's Second Dream (University of New Mexico Press, 1999), and The Mystery of Survival and Other Stories (Bilingual Review Press, 1993). She is a professor of Chicano/a Studies and English at the University of California Los Angeles.</p>

<TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tracking La Llorona</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crooked Foot Speaks/Habla Pata Chueca</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Shadow of Greater Things</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After 21 Years, A Postcard from My Father</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dust to Dust</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Holy Ground</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Philosophy of Frijoles</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gardenias for El Gran Guru</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">70 Moons</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bamba Basilica</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Caldo de Pollo</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Confessions</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pilgrim's Progress</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sor Juana's Litany in the Subjunctive</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Listening to Our Bones</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Karmic Revolution</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Galloping</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Literary Wetback</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Adirondack Park</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Swimming in Limekiln Lake</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Waking Up in Ontario: Reward</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Niagara River Speaks Three Languages</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rainstorm: The Gorge</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Piseco Lake</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Point Comfort: Coming Home</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autumn Equinox in the Sandias, 1990</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bluebirds</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chamizal</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Name that Border</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Waters of Grief</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Huitlacoche Crepes</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Neighbors</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Descarada/No Shame: A[bridged] Politics of Location</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carmen's Song</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blackjack</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Culto a la Muerte</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Witch Museum</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kyrie Eleison for La Llorona</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eclipse (September 11th)</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El Encuentro</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD></TABLE>

Witnessing Lynching: American Writers Respond is the first anthology to gather poetry, essays, drama, and fiction from the height of the lynching era (1889-1935). During this time, the torture of a black person drew thousands of local onlookers and was replayed throughout the nation in lurid newspaper reports. The selections gathered here represent the courageous efforts of American writers to witness the trauma of lynching and to expose the truth about this uniquely American atrocity. Included are well-known authors and activists such as Frederick Douglass, W. E. B. Du Bois, Langston Hughes, Ida B. Wells, and Theodore Dreiser, as well as many others. These writers responded to lynching in many different ways, using literature to protest and educate, to create a space of mourning in which to commemorate and rehumanize the dead, and as a cathartic release for personal and collective trauma. Their words provide today's reader with a chance to witness lynching and better understand the current state of race relations in America.

<p>In a unique anthology that collects essays, fiction, drama, and poetry from the main period of lynching in the US (1889-1935), Rice (black studies, Lehman College) provides sociohistorical context on 39 selections by Frederick Douglass, Langston Hughes, Ida B. Wells, Carl Sandburg, and other authors/activists. Michele Wallace (City College of New York) provides further commentary on this horrific backdrop to current race relations. Annotation &copy;2004 Book News, Inc., Portland, OR</p>

<TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Illustrations</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword: Passing, Lynching, and Jim Crow</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: The Contest over Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1889-1900</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sheriff's Children (1889)</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lynch Law in the South (1892)</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Appeal to My Countrywomen (1896)</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpt from Mob Rule in New Orleans (1900)</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Will Smith's Defense of His Race, from Contending Forces (1900)</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1901-1910</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thoughts on the Present Conditions, from Reminiscences of My Life in Camp with the 33rd United States Colored Troops Late 1st S.C. Volunteers (1902)</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beyond the Limit (1903)</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Haunted Oak (1903) and The Lynching of Jube Benson (1904)</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpt from Lynching from a Negro's Point of View (1904)</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Blaze, from The Hindered Hand; or, The Reign of the Repressionist (1905)</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Litany at Atlanta (1906)</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jim Crow Cars (1907)</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1911-1920</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Met a Little Blue-Eyed Girl (1912)</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpt from The Autobiography of an Ex-Colored Man (1912) and Brothers (1916)</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jimmy (1914)</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Supplement to the Crisis, July 1916</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nigger Jeff (1918)</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpts from The Chicago Race Riots, July 1919 (1919) and Man, the Man-Hunter (1920)</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aftermath (1919)</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If We Must Die (1919) and The Lynching (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Goldie (1920)</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1921-1930</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpt from Lynching and Debt Slavery (1921)</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">So Quietly (1921)</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Black Draftee from Dixie (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christ Recrucified (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The South (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Portrait in Georgia and Blood-Burning Moon (1923)</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Things (1923)</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Present South (1923)</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Unquenchable Fire (1924)</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Morning Ride (1927)</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tenebris (1927)</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Investigate Lynchings (1929)</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1931-1935</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">He Was a Man (1932) and Let Us Suppose (1935)</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christ in Alabama (1932)</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpt from Scottsboro - and Other Scottsboros (1934)</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Flag Salute (1934)</TD><TD WIDTH="10%" ALIGN="RIGHT">282</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kneel to the Rising Sun (1935)</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Between the World and Me (1935)</TD><TD WIDTH="10%" ALIGN="RIGHT">304</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD></TABLE>

<p>Brian and Deborah Charlesworth obtained PhDs in genetics at Cambridge, and have subsequently worked at the Universities of Liverpool, Sussex, Chicago and Edinburgh, and are co-authors of a book about evolution for the general public. Brian is a Fellow of the Royal Society and Honorary Fellow of the American Academy of Arts and Sciences, and Deborah is a Fellow of the Royal Society. Both currently work on questions in population genetics, molecular evolution and genome evolution, and also on mating system evolution, including the evolution of sex chromosomes.<p></p>

<p>Evolutionary genetics considers the causes of evolutionary change and the nature of variability in evolution. The methods of evolutionary genetics are critically important for the analysis and interpretation of the massive datasets on DNA sequence variation and evolution that are becoming available, as well for our understanding of evolution in general. This book shows readers how models of the genetic processes involved in evolution are made (including natural selection, migration, mutation, and genetic drift in finite populations), and how the models are used to interpret classical and molecular genetic data. The material is intended for advanced level undergraduate courses in genetics and evolutionary biology, graduate students in evolutionary biology and human genetics, and researchers in related fields who wish to learn evolutionary genetics. The topics covered include genetic variation, DNA sequence variability and its measurement, the different types of natural selection and their effects (e.g. the maintenance of variation, directional selection, and adaptation), the interactions between selection and mutation or migration, the description and analysis of variation at multiple sites in the genome, genetic drift, and the effects of spatial structure. The final two chapters demonstrate how the theory illuminates our understanding of the evolution of breeding systems, sex ratios and life histories, and some aspects of genome evolution.</p>

<p>Evolutionary genetics considers the causes of evolutionary change and the nature of variability in evolution. The methods of evolutionary genetics are critically important for the analysis and interpretation of the massive datasets on DNA sequence variation and evolution that are becoming available, as well for our understanding of evolution in general. This book shows readers how models of the genetic processes involved in evolution are made (including natural selection, migration, mutation, and genetic drift in finite populations), and how the models are used to interpret classical and molecular genetic data.<br></p>

<p>1. Variability and its measurement<br> 2. Basic selection theory and the maintenance of variation<br> 3. Directional selection and adaptation<br> 4. Migration, mutation and selection<br> 5. The evolutionary effects of finite population size: basic theory<br> 6. Molecular evolution and variation<br> 7. Genetic effects of spatial structure<br> 8. Multiple sites and loci<br> 9. The evolution of breeding systems, sex ratios and life histories<br> 10. Some Topics in Genome Evolution Mathematical and Statistical Appendix</p>

<p>Here in one volume are the top one hundred poems, as determined by a survey of more than 1,000 anthologies -- the poems in English most frequently anthologized, the poems with the broadest, most enduring appeal. From Shakespeare to Dickinson to Frost, from sonnets to odes to villanelles, William Harmon's <i>Classic Hundred Poems</i> offers a feast for poetry lovers.</p> <p>This book updates the first edition by presenting the new top one hundred poems, nineteen of which were not in the first edition. The revised edition is arranged chronologically, and features new commentary and notes on verse form, as well as an index of the poems in order of popularity, notes on words and proper names, and a bibliography for each poet and each poem. A glossary of terms, author index, and index of titles and first lines are also included.</p> <p>From Keats' "To Autumn," now ranked as the number-one poem in this collection, to George Herbert's "Virtue," in the hundredth spot, every poem is illuminated by Harmon's informative notes. With insights into the historical period in which each poem was written, the verse form used, and connections among poems, this is the ideal introduction to poetry, as well as a treasury for the dedicated reader.</p> <p> Columbia University Press</p>

<p><P>Imagine if Billboard compiled a list of the top 100 poems, chosen not by critics or professors but by the people themselves. That's the concept behind The Classic Hundred, and it works brilliantly. William Harmon found the 100 most anthologized poems in English, based on the ninth edition of The Columbia Granger's Index to Poetry&#151;the most objective measurement of greatness available, representing consensus among the editors of some 400 anthologies. Then he put them in order and prefaced each one with concise, erudite, often humorous commentary. The range of poets, subjects, and forms&#151;from Shakespeare to Frost, from love and death to crime and punishment, from sonnets to odes&#151;makes this an entertaining, enlightening, and indispensable aural guide to the finest verse in the English language.</p><h3>New York Times Book Review</h3><p>"Why did no one think of this before?"</p>

<p>PrefaceAnonymousSir Thomas WyattSir Walter RaleghSir Philip SidneyChristopher MarloweWilliam ShakespeareJohn DonneBen JonsonRobert HerrickGeorge HerbertThomas CarewEdmund WallerJohn MiltonSir John SucklingRichard LovelaceAndrew MarvellHenry VaughanThomas GrayWilliam BlakeRobert BurnsWilliam WordsworthSamuel Taylor ColeridgeGeorge Gordon Byron, 6th Baron ByronPercy Bysshe ShelleyJohn KeatsElizabeth Barrett BrowningEdgar Allan PoeAlfred, Lord TennysonRobert BrowningArthur Hugh CloughJulia Ward HoweMatthew ArnoldEmily DickinsonLewis CarrollThomas HardyGerard Manley HopkinsWilliam Butler YeatsErnest DowsonEdwin Arlington RobinsonWalter de la MareRobert FrostT.S. ElliotWilfred OwenW. H. AudenTheodore RoethkeRandall JarrellDylan ThomasNotes on the PoemsGlossary of Technical TermsFurther ReadingThe Poems in Order of PopularityIndex of PoetsIndex of Titles and First LinesAcknowledgments</p> <p> Columbia University Press</p>

<article> <h4>Robert Creeley</h4><p><i>The Classic Hundred</i> is fascinating, and I have much enjoyed just turning pages.... [The poems are] charmingly presented by a very perspicacious host and poet, William Harmon.</p> </article> <article> <h4>Richard Wilbur</h4><p>"It's fascinating to open this book and discover which... poems have been favored over the years.... William Harmon's comments on the poems are just right: bright, brief, and appreciative."</p> </article><article> <h4>New York Times Book Review</h4>"Why did no one think of this before?" </article> <article> <h4>The New York Times</h4>Why did no one think of this before?"<br> —<i>The New York Times Review of Books</i> </article> <article> <h4>From the Publisher</h4>What a great idea. . . . First of all it's interesting to see which poems make it, and then . . . you've got all those great poems. </article> <article> <h4>Roy Blount</h4>“What a great idea. . . . First of all it's interesting to see which poems make it, and then . . . you've got all those great poems.”<br> —<i>Roy Blount, Jr.</i> </article>

<p>Editor Lawrence Harbison handpicks some of the finest plays by new American Playwrights from the 2008-2009 theatrical season<br> <br> The selection includes Animals Out of Paper by Rajiv Joseph whose play Bengal Tiger at the Baghdad Zoo has been nominated for a 2010 Pulitzer Prize<br> <br> AMERICAN HWANGAP—Lloyd Suh<br> It's dear old Dad's 60th birthday. Although he deserted his family years ago, they are holding a traditional Korean 60th birthday celebration (a hwangap) anyway<br> He comes back to the U.S. for his hwangap, and what ensues is funny and often quite poignant<br> "Suh strikes just the right balance between humor and deeply felt emotion"—Theatremania<br> <br> ANIMALS OUT OF PAPER—Rajiv Joseph<br> A high school teacher and Origami enthusiast is a big fan of the work of an origami artist. He asks her to tutor a gifted young student of his, who might just be the Tiger Woods of Origami!<br> <br> BEACHWOOD DRIVE—Steven Leigh Morris<br> This compelling drama centers on a Ukrainian woman working as a prostitute in Los Angeles and a LAPD detective determined to bust the gangsters with whom she is involved<br> "A police case study that is a truly chilling cautionary tale"—Backstage<br> <br> CROOKED—Catherine Trieschmann<br> Laney, a teenaged girl with a crooked spine, has moved to a new town with her mother. There, she meets another girl named Maribel, who changes her life<br> "The themes - mother-daughter tensions, adolescence itself and religion as a refuge - emerge naturally from the fluent, often funny and sometimes fearlessly cruel dialogue"—NY Times<br> <br> END DAYS—Deborah Zoe Laufer<br> The Steins are one strange American Family ...<br> Dad, Arthur, a World Trade Center survivor, suffers from terminal depression<br> Their daughter, Rachel, is an alienated goth chick, and Mom, Sylvia, thinks the Rapture is imminent. Neighbor Nelson, who dresses in Elvis' white jumpsuit, is an incorrigible optimist who loves Rachel and physics, and slowly but surely he straightens out the Stein family<br> And two of the characters, are none other than Jesus Christ and Stephen Hawking!<br> "Enormously funny, warm and uplifting"—Curtain Up<br> <br> FARRAGUT NORTH—Beau Willimon<br> This compelling drama is about skullduggery on the campaign trail<br> "Beau Willimon's juicy and timely drama is a potent reminder that, like Hollywood, politics is a high-stakes game where one wrong liaison can finish you off. It's a place where friendships and loyalties are only as deep as the next cocktail or quick jump in the sack"—NY Daily News<br> <br> JESUS HATES ME—Wayne Lemon<br> This hilarious comedy premiered at the Denver Center and has gone on to several other productions around the country<br> Set in W. Texas, it takes place at a run-down mini-golf track with a religious theme. It's called "Blood of the Lamb" and its trademark is a crucified Christ<br> "It disarms the audience with pointed one-liners and thoughtful existential observations. The audience laughs and hoots"—Variety</p>

<p><P>Editor Lawrence Harbison handpicks some of the finest plays by new American Playwrights from the 2008-2009 theatrical season <br><br>The selection includes Animals Out of Paper by Rajiv Joseph whose play Bengal Tiger at the Baghdad Zoo has been nominated for a 2010 Pulitzer Prize <br><br>AMERICAN HWANGAP&#151;Lloyd Suh <br>It's dear old Dad's 60th birthday. Although he deserted his family years ago, they are holding a traditional Korean 60th birthday celebration (a hwangap) anyway <br>He comes back to the U.S. for his hwangap, and what ensues is funny and often quite poignant <br>"Suh strikes just the right balance between humor and deeply felt emotion"&#151;Theatremania <br><br>ANIMALS OUT OF PAPER&#151;Rajiv Joseph <br>A high school teacher and Origami enthusiast is a big fan of the work of an origami artist. He asks her to tutor a gifted young student of his, who might just be the Tiger Woods of Origami! <br><br>BEACHWOOD DRIVE&#151;Steven Leigh Morris <br>This compelling drama centers on a Ukrainian woman working as a prostitute in Los Angeles and a LAPD detective determined to bust the gangsters with whom she is involved <br>"A police case study that is a truly chilling cautionary tale"&#151;Backstage <br><br>CROOKED&#151;Catherine Trieschmann <br>Laney, a teenaged girl with a crooked spine, has moved to a new town with her mother. There, she meets another girl named Maribel, who changes her life <br>"The themes - mother-daughter tensions, adolescence itself and religion as a refuge - emerge naturally from the fluent, often funny and sometimes fearlessly cruel dialogue"&#151;NY Times <br><br>END DAYS&#151;Deborah Zoe Laufer <br>The Steins are one strange American Family ... <br>Dad, Arthur, a World Trade Center survivor, suffers from terminal depression <br>Their daughter, Rachel, is an alienated goth chick, and Mom, Sylvia, thinks the Rapture is imminent. Neighbor Nelson, who dresses in Elvis' white jumpsuit, is an incorrigible optimist who loves Rachel and physics, and slowly but surely he straightens out the Stein family <br>And two of the characters, are none other than Jesus Christ and Stephen Hawking! <br>"Enormously funny, warm and uplifting"&#151;Curtain Up <br><br>FARRAGUT NORTH&#151;Beau Willimon <br>This compelling drama is about skullduggery on the campaign trail <br>"Beau Willimon's juicy and timely drama is a potent reminder that, like Hollywood, politics is a high-stakes game where one wrong liaison can finish you off. It's a place where friendships and loyalties are only as deep as the next cocktail or quick jump in the sack"&#151;NY Daily News <br><br>JESUS HATES ME&#151;Wayne Lemon <br>This hilarious comedy premiered at the Denver Center and has gone on to several other productions around the country <br>Set in W. Texas, it takes place at a run-down mini-golf track with a religious theme. It's called "Blood of the Lamb" and its trademark is a crucified Christ <br>"It disarms the audience with pointed one-liners and thoughtful existential observations. The audience laughs and hoots"&#151;Variety</p>