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A striking number of hysterical or insane female characters populate Francophone women's writing. To discover why, Orlando reads novels from a variety of cultures, teasing out key elements of Francophone identity struggles.

", "movies.toc": "

	Preface
	Acknowledgments
	Introduction: Writing New H(er)stories for Francophone Women of Africa and the Caribbean	1
1	The Politics of Race and Patriarchy in Suzanne Lacascade's Claire-Solange, ame africaine	37
2	Home Is Where I Eat My Bread: Multiculturality and Becoming Multiple in Leila Hoauri's Zeida de nulle part	51
3	Self-Loathing, Self-Sacrifice: Michele Lacrosil's Cajou and Myriam Warner-Vieyria's Juletane	73
4	Out(in)side the Confinement of Cultures: Marie Chauvet's Amour, Colere, et Folie and Mariama Ba's Un Chant ecarlate	97
5	Rooms and Prisons, Sex and Sin: Places of Sequestration in Nina Bouraoui's La Voyeuse Interdite and Calixthe Beyala's Tu t'appelleras Tanga	125
6	War, Revolution, and Family Matters: Yamina Mechakra's La Grotte eclatee and Hajer Djilani's Et Pourtant le ciel etait bleu	147
7	Feminine Voices and H(er)stories: Simone Schwarz-Bart's Pluie et Vent sur Telumee Miracle and Aminata Sow Fall's Douceurs du bercail	165
	Epilogue: Transgressing Boundaries, Reconstructing Stories	181
	Bibliography	187
	Index	193

Werner Sollors is Henry B. and Anne M. Cabot Professor of English Literature and Professor of Afro-American Studies and Chair of the History of American Civilization Program at Harvard University. He is the author and editor of numerous books, including The Multilingual Anthology of American Literature, Theories of Ethnicity: A Classical Reader, and Multilingual America: Transnationalism, Ethnicity, and the Languages of American Literature, all available from NYU Press.

", "movies.authors": "Werner Sollors (Editor), Werner Sollors", "movies.title_slug": "an-anthology-of-interracial-literature", "movies.author_slug": "werner-sollors", "movies.isbn13": 9780814781449, "movies.isbn10": 814781446, "movies.price": "", "movies.format": "Paperback", "movies.publisher": "New York University Press", "movies.pubdate": "February 2004", "movies.edition": "New Edition", "movies.subjects": "Literary Criticism, American", "movies.lexile": "", "movies.pages": "", "movies.dimensions": "", "movies.overview": "", "movies.excerpt": "", "movies.synopsis": "

A white knight meets his half-black half-brother in battle. A black hero marries a white woman. A slave mother kills her child by a rapist-master. A white-looking person of partly African ancestry passes for white. A master and a slave change places for a single night. An interracial marriage turns sour. The birth of a child brings a crisis. Such are some of the story lines to be found within the pages of An Anthology of Interracial Literature.

This is the first anthology to explore the literary theme of black-white encounters, of love and family stories that cross—or are crossed by—what came to be considered racial boundaries. The anthology extends from Cleobolus' ancient Greek riddle to tormented encounters in the modern United States, visiting along the way a German medieval chivalric romance, excerpts from Arabian Nights and Italian Renaissance novellas, scenes and plays from Spain, Denmark, England, and the United States, as well as essays, autobiographical sketches, and numerous poems. The authors of the selections include some of the great names of world literature interspersed with lesser-known writers. Themes of interracial love and family relations, passing, and the figure of the Mulatto are threaded through the volume.

An Anthology of Interracial Literature allows scholars, students, and general readers to grapple with the extraordinary diversity in world literature. As multi-racial identification becomes more widespread the ethnic and cultural roots of world literature takes on new meaning.

Contributors include: Hans Christian Andersen, Gwendolyn Brooks, Elizabeth Barrett Browning, Charles W. Chesnutt, Lydia MariaChild, Kate Chopin, Countee Cullen, Caroline Bond Day, Rita Dove, Alexandre Dumas, Olaudah Equiano, Langston Hughes, Victor Hugo, Charles Johnson, Adrienne Kennedy, Henry Wadsworth Longfellow, Guy de Maupassant, Claude McKay, Eugene O'Neill, Alexander Pushkin, and Jean Toomer.

Library Journal

Sollors (English literature & Afro-American studies, Harvard) has compiled the first scholarly anthology that centers on the theme in literature of love and family across, or crossed by, racial boundaries. As Sollors explains in the introduction, \"It is a theme that makes for unusual intersections of the plots of love and family relations with issues of society and politics.\" The anthology contains a broad range of texts, including epics, poems, and novellas, and spans numerous cultures from the ancient to the contemporary. The authors included range from Hans Christian Andersen and Alexander Pushkin to Eugene O'Neill and Gwendolyn Brooks. One is reminded that color was an accidental quality in antiquity and the Christian Middle Ages; that during later times, censure existed; and that, in the United States in particular, interracial marriage bans were not deemed unconstitutional until 1967. As stated in a Rita Dove play: \"A sniff of freedom's all it takes to feel history's sting.\" Recommended for academic libraries and for any reader working around the race rubric.-Scott Hightower, Fordham Univ., New York Copyright 2003 Reed Business Information.

", "movies.toc": "

	Acknowledgments
	Introduction	1
1	\"Riddle\" (5th century B.C.)	7
2	From Parzival (1197-1210)	8
3	From The Book of the Thousand Nights and One Night	57
4	From Il Novellino (1475)	69
5	From Hecatommithi (1565)	85
6	\"The Beautiful Slave-Girl\" (1614)	97
7	\"A Negress Courts Cestus, a Man of a Different Colour\" (1633)	99
8	\"A Faire Nimph Scorning a Black Boy Courting Her\" (1658)	101
9	\"The Inversion\" (1657), \"One Enamour'd on a Black-moor\" (1657), \"A Black Nymph Scorning a Fair Boy Courting Her\" (1657)	103
10	\"To Mrs. Diana Cecyll\" (1665), \"The Brown Beauty\" (1665), \"Sonnet of Black Beauty (1665), \"Another Sonnet to Black It Self\" (1665)	107
11	\"In Laudem Aethiopissae\" (1778)	110
12	The Isle of Pines (1668)	115
13	From Oroonoko: A Tragedy in Five Acts (1696)	132
14	\"On a Young Lady's Weeping at Oroonooko\" (1732), \"To a Gentleman in Love with a Negro Woman\" (1732)	143
15	Two Versions of the Story of Inkle and Yarico	145
16	The Dying Negro (1773)	152
17	Letter to James Tobin (1788)	161
18	The Engagement in Santo Domingo (1811)	167
19	Ourika (1823)	189
20	The Blackamoor of Peter the Great (1827-1828)	208
21	\"The Quadroons\" (1842)	232
22	From Georges (1843)	240
23	From Beyond the Seas (1863-1864)	253
24	\"The Quadroom Girl\" (1842)	278
25	\"The Runaway Slave at Pilgrim's Point\" (1848)	280
26	\"The Pilot's Story\" (1860)	288
27	From Mulatto: An Original Romantic Drama in Five Acts (1840)	292
28	The Octoroon; or, Life in Louisiana: A Play in Five Acts (1859)	300
29	From Black and White: A Drama in Three Acts (1869)	337
30	From Miscegenation: The Theory of the Blending of the Races, Applied to the American White Man and Negro (1863)	350
31	Madame Delphine (1881)	383
32	From \"The Pariah\" (1895)	421
33	\"Boitelle\" (1889)	424
34	\"The Father of Desiree's Baby\" (1893)	431
35	\"Uncle Wellington's Wives\" (1899)	436
36	\"The Mulatto to His Critics\" (1918)	461
37	\"The Octoroon\" (1922), \"Cosmopolite\" (1922), \"The Riddle\" (1925)	462
38	From The Vengeance of the Gods (1922)	464
39	\"Hope\" (1922)	473
40	\"Withered Skin of Berries\" (1923)	476
41	\"Confession\" (1929)	498
42	All God's Chillun Got Wings (1924)	504
43	\"Near White\" (1925), \"Two Who Crossed a Line\" (1925)	530
44	\"Cross\" (1925), \"Mulatto\" (1927), Mulatto: A Tragedy of the Deep South (1935)	532
45	\"The Mulatto\" (1925), \"Near-White\" (1932)	559
46	\"The Pink Hat\" (1926)	573
47	\"Ballad of Pearl May Lee\" (1945)	577
48	The Owl Answers (1963)	583
49	From Oxherding Tale (1982)	594
50	From The Darker Face of the Earth (1994)	606
51	From Buck (2001)	634
52	From The Secret Life of Fred Astaire (2001)	653
	Sources	667
	Index	673
	About the Editor	675

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\nFiction. African American Studies. Translated from the French. AMONG THE BLACKS consists of two works: Ron Padgett's translation of Raymond Roussel's early story \"Parmi les noirs,\" first published in 1935 in his book Comment j'ai ecrit certain de mes livres, together with Padgett's memoir focusing upon his own experience among black people. Roussel's story, about a master mariner named White who encounters an African chief named Booltable, is built upon the kind of whimsical and extravagant word play (its first and last sentences are identical except for one letter in one word--\"pooltable\"/ \"Booltable\") for which Roussel was idolized by the French Surrealists. In contrast, as he writes in his Afterword, Padgett's memoir \"grew out of the nagging need to come to grips with the frustrations of being a white American who had grown up in a racist environment and who, despite his rejections of racism at an early age, had rarely felt unselfconscious in the company of a black person.\" \"What he leaves us with is a work that is like the perfectly preserved temple of a cult which has disappeared without a trace, or a complicated set of tools whose use cannot be discovered. But even though we may never be able to 'use' [Roussel's] work in the way he hoped, we can still admire its inhuman beauty, and be stirred by a language that seems always on the point of revealing its secret, of pointing the way back to the 'republic of dreams' whose insignia blazed on his forehead\"--John Ashbery.", "movies.excerpt": "", "movies.synopsis": "", "movies.toc": "", "movies.editorial_reviews": "", "movies.author_ids": 0, "movies.field_1": "", "movies.field_2": "", "movies.field_3": "", "movies.field_4": "", "movies.field_5": "", "movies.field_6": "", "movies.field_7": "", "movies.field_8": "", "movies.field_9": "", "movies.field_10": "", "movies.field_11": "", "movies.field_12": "", "movies.field_13": "", "movies.field_14": "", "movies.field_15": "", "movies.field_16": "", "movies.field_17": "", "movies.field_18": "", "movies.field_19": "", "movies.field_20": "", "movies.field_21": "", "movies.field_22": "", "movies.field_23": "", "movies.field_24": "", "movies.field_25": "", "movies.field_26": "", "movies.field_27": "", "movies.field_28": "", "movies.field_29": "", "movies.field_30": "", "movies.field_31": "", "movies.field_32": "", "movies.field_33": "", "movies.field_34": "", "movies.field_35": "", "movies.field_36": "", "movies.field_37": "", "movies.field_38": "", "movies.field_39": "", "movies.field_40": "", "movies.field_41": "", "movies.field_42": "", "movies.field_43": "", "movies.field_44": "", "movies.nullyear": "", "movies.age": "", "movies.ethnic": "", "movies.sex": "", "movies.area": "", "movies.count": "", "movies.ids": "" }, "4": { "movies.id": 4, "movies.ts": "2025-01-10 14:08:40", "movies.nullid": 34, "movies.title": "The Daily Show with Jon Stewart Presents Earth (the Book): A Visitor's Guide to the Human Race", "movies.author": "Jon Stewart", "movies.author_bio": "

Jon Stewart was born in New York and lives with his wife and children in New York City.

", "movies.authors": "Jon Stewart", "movies.title_slug": "the-daily-show-with-jon-stewart-presents-earth", "movies.author_slug": "jon-stewart", "movies.isbn13": 9780446579223, "movies.isbn10": "044657922X", "movies.price": "$1.99", "movies.format": "Hardcover", "movies.publisher": "Grand Central Publishing", "movies.pubdate": "September 2010", "movies.edition": "", "movies.subjects": "Humor", "movies.lexile": "", "movies.pages": 244, "movies.dimensions": "8.40 (w) x 10.30 (h) x 0.90 (d)", "movies.overview": "

The eagerly awaited new book from the Emmy-winning, Oscar-hosting, Daily Show-anchoring Jon Stewart—the man behind the megaseller America (The Book).

Where do we come from? Who created us? Why are we here? These questions have puzzled us since the dawn of time, but when it became apparent to Jon Stewart and the writers of The Daily Show that the world was about to end, they embarked on a massive mission to write a book that summed up the human race: What we looked like; what we accomplished; our achievements in society, government, religion, science and culture — all in a tome of approximately 256 pages with lots of color photos, graphs and charts.

After two weeks of hard work, they had their book. EARTH (The Book) is the definitive guide to our species. With their trademark wit, irreverence, and intelligence, Stewart and his team will posthumously answer all of life's most hard-hitting questions, completely unburdened by objectivity, journalistic integrity, or even accuracy.

Also available as an ebook and as an audiobook.

", "movies.excerpt": "", "movies.synopsis": "

The eagerly awaited new book from the Emmy-winning, Oscar-hosting, Daily Show-anchoring Jon Stewart—the man behind the megaseller America (The Book).

The New York Times - Janet Maslin

Like the \"Daily Show\" this parody delivers wittily framed absurdities in a sweetly deadpan way…like the show, [it's] best when it takes on subjects of real substance…That's why the funniest material is about religion and science.

", "movies.toc": "", "movies.editorial_reviews": "

Publishers Weekly

Starred Review. \n

Eight-time Emmy-winner Stewart (America: The Book) seeks to expand his audience to aliens who might land on earth after the extinction of the human race and be puzzled over the artifacts we've left behind. \"Greetings... on behalf of not only ourselves, but the entire Viacom family,\" he writes in this laugh-out-loud, rollicking social satire. In place of skits there are elaborate, color illustrations accompanied by captions written with his trademark deadpan humor; for instance, a photo of a mother and baby-elephant holds the caption, \"advances in contraception and industrialized food production allowed modern couples to have fewer offspring, while leaving the total weight of families constant.\" Nothing is off-limits here, not even Benjamin Franklin, whose pithy saying \"Nothing is certain but death and taxes\" Stewart expands upon. The book ends with a plea to the aliens to reconstruct the human race from DNA in the hope that, with guidance from the visitors, \"we could overcome the baser aspects of our nature... and give this planet the kind of caretakers it deserves,\" revealing the tears behind Stewart's clown. Photos.
\nCopyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

\n\n\n

\n\n

E.W.com

Has it really been a full six years since Jon Stewart and the writers of The Daily Show released their last book? Well, the delay's understandable. It's a daunting task to cover the history of a 4.5 billion-year-old planet (including the entirety of human existence) in 244 pages.\n

You'll recognize Earth's faux-textbook design and irreverent tone from America (The Book), and some gags recur nearly unchanged — the terrifyingly nude bodies of the Supreme Court justices are replaced here with the terrifyingly nude body of Larry King. But the subject's bigger, and the high concept higher. Earth is written as a Baedeker for the aliens who will eventually discover our planet after our species has expired, likely by our own hand. All the entries, hitting topics like love (''liking another person very very very very very very much'') and work (''that which we didn't want to do, but had to, if we didn't want to eat dirt''), are written in the past tense. It's the ultimate gallows humor: We had it pretty good, and now we're all dead.

Earth is The Devil's Dictionary for a new generation, twisting our lives in the light and bringing mordant humor to the commonplace. Despite the timelessness of most topics, the writers manage to be pretty lively at times, such as when they refer to the Grand Canyon as ''the biggest rift in Arizona not involving Mexicans.''

Earth isn't meant to be read straight through. It's designed to be perused, so you can discover at your leisure all the fun gags and wordplay crammed into its nooks and crannies. Because there are a lot. Enough, in fact, to make you believe this would actually be a fairly comprehensive guide for extraterrestrial visitors, just so long as they have a sense of humor. A–--(Staskiewicz, Keith)

\n\n\n

Library Journal

Following the 2004 Publishers Weekly Book of the Year America (The Book): A Citizen's Guide to Democracy Inaction—the Hachette Audio version of which won a Grammy Award—Stewart and the writers of his celebrated Daily Show together narrate this satirical overview of humanity written as though it were being explained to aliens of the future who discover Earth after the demise of all human life. Stewart, the primary narrator, explains religion, history, commerce, government, customs, and society in his trademark delivery. Unfortunately, he often swallows his punch lines, thus defeating the efficacy of many of the jokes. Perhaps his brand of humor is better suited to television. Nonetheless, this is a timely and entertaining title sure to do well among Stewart's many fans, who will doubtless laugh along. Recommended. [The Grand Central hc was a No. 1 New York Times and LJ best seller; see the review of the Grand Central hc, also in this issue, p. 122.—Ed.]—J. Sara Paulk, Wythe-Grayson Regional Lib., Independence, VA\n\n

\n\n

Kirkus Reviews

A goofy guide to our planet, with literate ironist Stewart (America: The Book, 2004) at the helm.

Continuing in the vein ofAmerica, but with a touch more detail in both words and images, Stewart and hisDaily Showcomrades posit that someday soon the ETs we've been hailing for all these decades will arrive—only to find us gone. And why would we not be here? Well, Stewart relegates the possible answers to an appendix that opens, \"At some point between the time this was written and the time you are reading it, we perished.\" Some of those possibilities include ecological catastrophe, nuclear holocaust, disease, robot rebellion and rapture—the last with a generous 30:1 chance of occurring, and evidenced by an \"overall 'Jesus-y' feeling in the air.\" To gauge by the rest of the book, however, the end may well come by dint of our soufflé-like culture's having finally become too airy and collapsed. So it is thatEarthis studded with images of all those pop-culture and media figures that one would gladly leave the planet to escape, from Bernie Madoff to Nicole Kidman and J-Lo (or, if not J-Lo, a convincing simulacrum). Stewart lampoons with a broad brush rather than the scalpel with which he dissects pomposity and prevarication on his Comedy Central show. Some of his targets include creationists and school boards, fast-food restaurants, obesity, the medical bureaucracy, the Venus of Willendorf and, not connected to the aforementioned Venus, the use of the brassiere as an instrument of social control. George Bush doesn't escape, of course; but then, neither does Florence Henderson.

The legions of readers ofAmerica will know exactly what they're in for—and readers of whatever stripe, save those who are fans of McDonald's and Satan, are likely to enjoy this one.

\n\n\n

\n\n

Janet Maslin

Dave Eggers is the editor of McSweeney's and a cofounder of 826 National, a network of nonprofit writing and tutoring centers for youth, located in seven cities across the United States. He is the author of four books, including What Is the What and How We Are Hungry.

David Sedaris is the author of six books, including When You Are Engulfed in Flames, Dress Your Family in Corduroy and Denim, and Me Talk Pretty One Day. He is a regular contributor to The New Yorker and Public Radio International's This American Life.

", "movies.authors": "Dave Eggers (Editor), David Sedaris", "movies.title_slug": "the-best-american-nonrequired-reading-2010", "movies.author_slug": "dave-eggers", "movies.isbn13": 9780547241630, "movies.isbn10": 547241631, "movies.price": "$11.17", "movies.format": "Paperback", "movies.publisher": "Houghton Mifflin Harcourt", "movies.pubdate": "October 2010", "movies.edition": "", "movies.subjects": "American Literature Anthologies, Fiction Subjects", "movies.lexile": "", "movies.pages": 484, "movies.dimensions": "5.50 (w) x 8.20 (h) x 1.30 (d)", "movies.overview": "

An eclectic volume introduced by David Sedaris and compiled by Dave Eggers and students of his San Francisco writing center, who don’t leave a stone unturned in their search for nonrequired gems. Cover art by art by Maurice Sendak.

", "movies.excerpt": "", "movies.synopsis": "

An eclectic volume introduced by David Sedaris and compiled by Dave Eggers and students of his San Francisco writing center, who don’t leave a stone unturned in their search for nonrequired gems.

Cover art by art by Maurice Sendak.

Publishers Weekly

David Sedaris's unflappable inventiveness translates, in the first section of this anthology, to a smattering of pieces with giddiness, daring, and heart. A particular highlight, by Wendy Molyneux, earned his award for \"Best American Woman Comedy Piece Written by a Woman\" and is guaranteed to set off snorts of delight with each re-read. In the second section, as in previous years, Eggers's picks prove solid and balanced, if expected. Rana Dasgupta's superb article, exploring India's new wealth and subsequent fallout, as well as David Rhode's profound and gripping account of his seven months as a Taliban hostage reflect not only the literary achievements of 2009, but also the horrors and complexities of these current times on. Meanwhile, Tea Obreht's \"The Tiger's Wife\" and Kurt Vonnegut's \"The Nice Little People\" embody the ageless miracles of surprise and originality that comprise the human imagination. (Oct.)

", "movies.toc": "

Editor's Note xi

Introduction David Sedaris xv

Best American Woman Comedy Piece Written by a Woman: From therumpus.net Wendy Molyneux 3

Best American Sentences on Page 50 of Books Published in 2009 5

Best American Magazine Letters Section: From Newsweek Stephen Colbert 8

Best American Fast-Food-Related Crimes 10

Best American Gun Magazine Headlines 11

Best American Six-Word Memoirs on Love and Heartbreak: From Six-Word Memoirs on Love and Heartbreak 13

Best American New Patents: From United States Patent and Trademark Office 14

Best American Tweets: From twitter.com 16

Best American Letter to the Editor: From Bidoun 17

Best American Overqualified Cover Letters: From Overqualified Joey Comeau 18

Best American Fictional Character Names 22

Best American 350-Word Story: From Orion Barry Lopez 23

Best American Farm Names 24

Best American First Lines of Poems Published in 2009 26

Best American Journal Article Titles Published in 2009 28

Best American Illustrated Missed Connections: From missedconnectionsny.blogspot.com Sophie Blackall 29

Best American New Band Names 37

Best American Lawsuits 38

Best American Poems Written in the Last Decade or So by Soldiers and Citizens in Iraq and Afghanistan 40

War Dances: From War Dances Sherman Alexie 49

Like I Was Jesus: From Harper's Magazine Rachel Aviv 75

Burying Jeremy Green: From Shenandoah Nora Bonner 95

The Carnival: From Mome Lilli Carré 104

Capital Gains: From Granta Rana Dasgupta 137

The Encirclement: From Granta Tamas Dobozy 165

Man of Steel: From Ninth Letter Bryan Furuness 180

Half Beat: From The Greensboro Review Elizabeth Gonzalez 198

Gentlemen, Start Your Engines: From San Francisco Panorama Andrew Sean Greer 213

Didier Lefèvre, and Frédéric Lemercier. The Photographer: From The Photographer, translated from French by Alexis Siegel Emmanuel Guibert 238

What, of this Goldfish, Would You Wish?: From Tin House, translated from Hebrew by Nathan Englander Etgar Keret 262

Fed to The Streets: From L.A. Weekly Courtney Moreno 268

The Tiger's Wife: From The New Yorker Téa Obreht 287

Breakdown: From Mome T. Ott 308

Ideas: From The Paris Review, translated from Spanish by Mara Faye Lethem Patricio Pron 316

Vanish: From Wired Evan Ratliff 323

Seven Months, Ten Days in Captivity: From New York Times David Rohde 345

Tent City, U. S. A.: From GQ George Saunders 395

The Nice Little People: From Zoetrope: All-Story Kurt Vonnegut 431

Freedom: From Boston Review Amy Waldman 439

Contributors' Notes 456

The Best American Nonrequired Reading Committee 463

Notable Nonrequired Reading of 2009 472

About 826 National 479

", "movies.editorial_reviews": "

Publishers Weekly

Jon Stewart was born in New York and lives with his wife and children in New York City.

", "movies.authors": "Jon Stewart", "movies.title_slug": "the-daily-show-with-jon-stewart-presents-earth", "movies.author_slug": "jon-stewart", "movies.isbn13": 9781607886150, "movies.isbn10": 1607886154, "movies.price": "$24.98", "movies.format": "Compact Disc", "movies.publisher": "Hachette Audio", "movies.pubdate": "October 2010", "movies.edition": "", "movies.subjects": "Literary Collections", "movies.lexile": "", "movies.pages": "", "movies.dimensions": "", "movies.overview": "", "movies.excerpt": "", "movies.synopsis": "

The eagerly awaited new book from the Emmy-winning, Oscar-hosting, Daily Show-anchoring Jon Stewart—the man behind the megaseller America (The Book).

The New York Times - Janet Maslin

\"The Passionate Shepherd to His Love,\" \"Shall I compare thee to a summer's day?\" \"Death, be not proud,\" \"The Raven,\" \"The Road Not Taken,\" plus works by Blake, Wordsworth, Byron, Shelley, Keats, many others.

Nina Baym (General Editor), Ph.D. Harvard, is Swanlund Endowed Chair and Center for Advanced Study Professor Emerita of English, and Jubilee Professor of Liberal Arts and Sciences at The University of Illinois at Urbana-Champaign. She is author of The Shape of Hawthorne’s Career; Woman's Fiction: A Guide to Novels by and About Women in America; Novels, Readers, and Reviewers: Responses to Fiction in Antebellum America; American Women Writers and the Work of History, 1790-1860; and American Women of Letters and the Nineteenth-Century Sciences. Some of her essays are collected in Feminism and American Literary History; she has also edited and introduced many reissues of work by earlier American women writers, from Judith Sargent Murray through Kate Chopin. In 2000 she received the MLA’s Hubbell medal for lifetime achievement in American literary studies.

Wayne Franklin, Ph.D. (University of Pittsburgh), is Professor and Head of English, University of Connecticut. He is the author of James Fenimore Cooper: The Early Years (the first volume of his definitive biography, from Yale University Press), The New World of James Fenimore Cooper, and Discoverers, Explorers, Settlers: The Diligent Writers of Early America. He is the editor of American Voices, American Lives: A Documentary Reader and co-editor of The Norton Anthology of American Literature and of, with Michael Steiner, Mapping American Culture.

Philip F. Gura (Editor, 1700-1820), Ph.D. Harvard, is William S. Newman Distinguished Professor of American Literature and Culture and Adjunct Professor of Religious Studies at the University of North Carolina at Chapel Hill. He is the author of seven books, including The Wisdom of Words: Language, Theology, and Literature in the New England Renaissance; A Glimpse of Sion’s Glory: Puritan Radicalism in New England, 1620-1660; and Jonathan Edwards, America's Evangelical. For ten years he was editor of the journal Early American Literature. He is an elected member of the Massachusetts Historical Society, the American Antiquarian Society, and the Colonial Society of Massachusetts.

Jerome Klinkowitz (co-editor, American Literature since 1945), Ph.D. Wisconsin, is University Distinguished Scholar and Professor of English at the University of Northern Iowa. He is the author or editor of over forty books in postwar culture and literature, among them, Structuring the Void: The Struggle for Subject in Contemporary American Fiction; Slaughterhouse Five: Reforming the Novel and the World; Literary Subversions: New American Fiction and the Practice of Criticism; and The Practice of Fiction in America: Writers from Hawthorne to the Present.

Arnold Krupat (editor, Native American Literatures), Ph.D. Columbia, is Professor of Literature at Sarah Lawrence College. He is the author, among other books, of Ethnocriticism: Ethnography, History, Literature, The Voice in the Margin: Native American Literature and the Canon, Red Matters, and most recently, All That Remains: Native Studies (2007). He is the editor of a number of anthologies, including Native American Autobiography: An Anthology and New Voices in Native American Literary Criticism. With Brian Swann, he edited Here First: Autobiographical Essays by Native American Writers, which won the Wordcraft Circle of Native Writers and Storytellers Award for best book of nonfiction prose in 2001.

Robert S. Levine (editor, American Literature, 1820-1865), Ph.D. Stanford, is Professor of English at the University of Maryland, College Park. He is the author of Conspiracy and Romance: Studies in Brockden Brown, Cooper, Hawthorne, and Melville; and Martin Delany, Frederick Douglass, and the Politics of Representative Identity. He has edited a number of books, including The Cambridge Companion to Herman Melville; Martin R. Delany: A Documentary Reader; and a Norton Critical Edition of Hawthorne’s The House of the Seven Gables.

Mary Loeffelholz (editor, 1914-1945), Ph.D. Yale, is Professor of English at Northeastern University. She is the author of Dickinson and the Boundaries of Feminist Theory; Experimental Lives: Women and Literature, 1900-1945; and, most recently, From School to Salon: Reading Nineteenth-Century American Women’s Poetry. Her essays have appeared in such journals as American Literary History, English Literary History, the Yale Journal of Criticism, and Modern Language Quarterly. Since 1991 she has been the editor of Studies in American Fiction.

Jeanne Campbell Reesman (editor, 1865-1914), Ph.D. University of Pennsylvania, is Ashbel Smith Professor of English at the University of Texas at San Antonio. She is author of Houses of Pride: Jack London’s Race Lives, Jack London: A Study of the Short Fiction, and American Designs: The Late Novels of James and Faulkner, and editor of Speaking the Other Self: American Women Writers, and Trickster Lives: Culture and Myth in American Fiction. With Wilfred Guerin et al. she is co-author of A Handbook of Critical Approaches to Literature and with Earle Labor of Jack London: Revised Edition. With Kenneth Brandt she is co-editor of MLA Approaches to Teaching Jack London, with Leonard Cassuto Rereading Jack London, with Dale Walker No Mentor but Myself: Jack London on Writing and Writers, and with Sara S. Hodson Jack London: One Hundred Years a Writer. She and Noël Mauberret are co-editors of a series of 25 new Jack London editions in French published by Éditions Phébus of Paris. She is presently at work on two books: Mark Twain Versus God: The Story of a Relationship, and, with Sara S. Hodson, The Photography of Jack London. She is a member of the Executive Board of the American Literature Association and founder and Executive Coordinator of the Jack London Society.

Patricia B. Wallace (co-editor, American Literature since 1945), Ph.D. Iowa, is Professor of English at Vassar College. She is a contributing editor of The Columbia History of American Poetry; her essays and poems have appeared in such journals as The Kenyon Review, The Sewanee Review, MELUS and PEN America. She has been a recipient of fellowships from the NEA, the Mellon Foundation, and the ACLS.

", "movies.authors": "Wayne Franklin (Editor), Jerome Klinkowitz (Editor), Mary Loeffelholz (Editor), Arnold Krupat (Editor), Philip F. Gura", "movies.title_slug": "the-norton-anthology-of-american-literature-shorter-seventh-edition-one-volume-paperback", "movies.author_slug": "wayne-franklin", "movies.isbn13": 9780393930573, "movies.isbn10": 393930572, "movies.price": "$63.03", "movies.format": "Paperback", "movies.publisher": "Norton, W. W. & Company, Inc.", "movies.pubdate": "July 2007", "movies.edition": "7th Edition", "movies.subjects": "American Literature Anthologies", "movies.lexile": "", "movies.pages": 3008, "movies.dimensions": "6.00 (w) x 9.20 (h) x 2.50 (d)", "movies.overview": "Under Nina Baym's direction, the editors have considered afresh each selection and the entire apparatus to make the Shorter Edition an even better teaching tool for the one-semester and brief two-semester courses.
", "movies.excerpt": "", "movies.synopsis": "

Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field, The Norton Anthology of American Literature has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.

David Lehman is the editor of The Oxford Book of American Poetry and the author of seven books of poetry, including When a Woman Loves a Man. He lives in New York City.

", "movies.authors": "David Wagoner (Editor), David Lehman", "movies.title_slug": "the-best-american-poetry-2009", "movies.author_slug": "david-wagoner", "movies.isbn13": 9781615521647, "movies.isbn10": "161552164X", "movies.price": "", "movies.format": "Paperback", "movies.publisher": "Simon & Schuster Adult Publishing Group", "movies.pubdate": "September 2009", "movies.edition": "Bargain", "movies.subjects": "", "movies.lexile": "", "movies.pages": "", "movies.dimensions": "", "movies.overview": "", "movies.excerpt": "", "movies.synopsis": "

David Wagoner writes about regular lives with plain grace and transcendent humanity, and the seventy-five poems he has chosen for the 2009 edition of The Best American Poetry grapple with life, celebrate freedom, and teem with imaginative energy. With engaging notes from the poets, Wagoner's superb introductory essay, series editor David Lehman's astute foreword about the current state of poetry and criticism, and cover art from the beloved poet John Ashbery, The Best American Poetry 2009 is a memorable and delightful addition to a series dedicated to showcasing the work of poets at their best.

Publishers Weekly

From the moment series editor David Lehman invokes the myth of Jacob wrestling the Angel in his introduction, the gloves are off in this year's installment of this popular annual anthology. Lehman devotes much of his introduction to throwing jabs at longtime sparring partner and professional poetry grump William Logan, whom Lehman calls “wounded” and “thin skinned.” Guest editor Wagoner chooses to abstain from the scuffle, but there's no denying the aesthetic character amassed by the poems he's selected: American poets not only want to talk about their country this year, they want to talk violence in (and toward) their country. “They came to blow up America,” writes John Ashbery, followed hard on his heels by Mark Bibbins, who warns our fifth state, “Connecticut! we're sawing you in half.” Denise Duhamel envisions “How It Will End” (“We look around, but no one is watching us”) and Rob Cook, in his bold and incantatory “Song of America,” tells us, “I'm raising my child to drown and drop dead and to carry buildings on his back.” It appears our poets are at last ready to confront the hysteria and violence of the past eight years, and who can say there's a better year than 2009 to begin. (Sept.)

In a prolific and varied oeuvre that ranges over essays, plays, criticism, and several genres of fiction, Joyce Carol Oates has proved herself one of the most influential and important storytellers in the literary world.

", "movies.authors": "Joyce Carol Oates", "movies.title_slug": "the-oxford-book-of-american-short-stories", "movies.author_slug": "joyce-carol-oates", "movies.isbn13": 9780195092622, "movies.isbn10": 195092627, "movies.price": "$19.95", "movies.format": "Paperback", "movies.publisher": "Oxford University Press, USA", "movies.pubdate": "September 1994", "movies.edition": "~", "movies.subjects": "Biographies & Autobiographies, General", "movies.lexile": "", "movies.pages": "", "movies.dimensions": "", "movies.overview": "", "movies.excerpt": "", "movies.synopsis": "

\"How ironic,\" Joyce Carol Oates writes in her introduction to this marvelous collection, \"that in our age of rapid mass-production and the easy proliferation of consumer products, the richness and diversity of the American literary imagination should be so misrepresented in most anthologies.\" Why, she asks, when writers such as Samuel Clemens, F. Scott Fitzgerald, Eudora Welty, Flannery O'Connor, Saul Bellow, and John Updike have among them written hundreds of short stories, do anthologists settle on the same two or three titles by each author again and again? \"Isn't the implicit promise of an anthology that it will, or aspires to, present something different, unexpected?\"
In The Oxford Book of American Short Stories, Joyce Carol Oates offers a sweeping survey of American short fiction, in a collection of fifty-six tales that combines classic works with many \"different, unexpected\" gems, and that invites readers to explore a wealth of important pieces by women and minority writers. Some selections simply can't be improved on, Oates admits, and she happily includes such time-honored works as Irving's \"Rip Van Winkle,\" Poe's \"The Tell-Tale Heart,\" and Hemingway's \"A Clean, Well-Lighted Place.\" But alongside these classics, Oates introduces such little-known stories as Mark Twain's \"Cannibalism in the Cars,\" a story that reveals a darker side to his humor (\"That morning we had Morgan of Alabama for breakfast. He was one of the finest men I ever sat down to...a perfect gentleman, and singularly juicy\"). From Melville come the juxtaposed tales \"The Paradise of Bachelors and the Tartarus of Maids,\" of which Oates says, \"Only Melville could have fashioned out of 'real' events...such harrowing and dreamlike allegorical fiction.\" From Flannery O'Connor we find \"A Late Encounter With the Enemy,\" and from John Cheever, \"The Death of Justina,\" one of Cheever's own favorites, though rarely anthologized. The reader will also delight in the range of authors found here, from Charles W. Chesnutt, Jean Toomer, and Sarah Orne Jewett, to William Carlos Williams, Kate Chopin, and Zora Neale Hurston. Contemporary artists abound, including Bharati Mukherjee and Amy Tan, Alice Adams and David Leavitt, Bobbie Ann Mason and Tim O'Brien, Louise Erdrich and John Edgar Wideman. Oates provides fascinating introductions to each writer, blending biographical information with her own trenchant observations about their work, plus a long introductory essay, in which she offers the fruit of years of reflection on a genre in which she herself is a master.
This then is a book of surprises, a fascinating portrait of American short fiction, as filtered through the sensibility of a major modern writer.

Library Journal

In these lean times, it is difficult to imagine many libraries champing at the bit to purchase yet another anthology of American short stories. But institutions seeking to expand the diversity of their holdings in this area may find this collection the perfect choice. ``Familiar names, unfamiliar titles'' is the raison d'etre for this new volume. Along with some old chestnuts such as ``The Tell-Tale Heart'' and ``A Clean, Well-Lighted Place,'' editor Oates presents many fresh selections such as Edith Wharton's ``The Journey'' and John Cheever's ``The Death of Justina.'' She includes lesser-known minority and women writers such as Jean Toomer and Mary E. Wilkins Freeman alongside stories by newcomers Amy Tan, Louise Erdrich, and David Leavitt. Each author is given a brief biographical introduction. Recommended for serious literary collections.-- Rita Ciresi, Pennsylvania State Univ., University Park

", "movies.toc": "

Stories include:
1. Rip Van Winkle, Washington Irving
2. The Wives of the Dead, Nathaniel Hawthorne
3. The Paradise of Bachelors and the Tartarus of Maids, Herman Melville
4. The Tell-Tale Heart, Edgar Allan Poe
5. The Ghost in the Mill, Harriet Beecher Stowe
6. Cannibalism in the Cars, Mark Twain
7. The Storm, Kate Chopin
8. The Yellow Wallpaper, Charlotte Gilman Perkins
9. The Middle Years, Henry James
10. In a Far Country, Jack London
11. The Little Regiment, Stephen Crane
12. A Journey, Edith Wharton
13. A Death in the Desert, Willa Carter
14. A Clean, Well-Lighted Place, Ernest Hemingway
15. An Alcoholic Case, F. Scott Fitzgerald
16. The Girl with the Pimply Face, William Carlos Williams
17. He, Katherine Anne Porter
18. Red-Headed Baby, Langston Hughes
19. A Late Encounter with the Enemy, Flannery O'Connor
20. Sonny's Blues, James Baldwin
21. There will Come Soft Rains, Ray Bradbury
22. Where is the Voice Coming From, Eudora Welty
23. The Lecture, Isaac Beshevis Singer
24. My Son the Murderer, Bernard Malamud
25. Something to Remember Me By, Saul Bellow
26. The Death of Justina, John Cheever
27. Texts, Ursula Le Guin
28. The Persistence of Desire, John Updike
29. Are These Actual Miles?, Raymond Carver
30. Heat, Joyce Carol Oates", "movies.editorial_reviews": "", "movies.author_ids": 0, "movies.field_1": "", "movies.field_2": "", "movies.field_3": "", "movies.field_4": "", "movies.field_5": "", "movies.field_6": "", "movies.field_7": "", "movies.field_8": "", "movies.field_9": "", "movies.field_10": "", "movies.field_11": "", "movies.field_12": "", "movies.field_13": "", "movies.field_14": "", "movies.field_15": "", "movies.field_16": "", "movies.field_17": "", "movies.field_18": "", "movies.field_19": "", "movies.field_20": "", "movies.field_21": "", "movies.field_22": "", "movies.field_23": "", "movies.field_24": "", "movies.field_25": "", "movies.field_26": "", "movies.field_27": "", "movies.field_28": "", "movies.field_29": "", "movies.field_30": "", "movies.field_31": "", "movies.field_32": "", "movies.field_33": "", "movies.field_34": "", "movies.field_35": "", "movies.field_36": "", "movies.field_37": "", "movies.field_38": "", "movies.field_39": "", "movies.field_40": "", "movies.field_41": "", "movies.field_42": "", "movies.field_43": "", "movies.field_44": "", "movies.nullyear": "", "movies.age": "", "movies.ethnic": "", "movies.sex": "", "movies.area": "", "movies.count": "", "movies.ids": "" }, "11": { "movies.id": 11, "movies.ts": "2025-01-10 14:09:02", "movies.nullid": 51, "movies.title": "The Best American Essays of the Century", "movies.author": "Joyce Carol Oates", "movies.author_bio": "

", "movies.authors": "Joyce Carol Oates, Robert Atwan", "movies.title_slug": "the-best-american-essays-of-the-century", "movies.author_slug": "joyce-carol-oates", "movies.isbn13": 9780618155873, "movies.isbn10": 618155872, "movies.price": "$14.84", "movies.format": "Paperback", "movies.publisher": "Houghton Mifflin Harcourt", "movies.pubdate": "October 2001", "movies.edition": "", "movies.subjects": "American Essays, American Literature Anthologies", "movies.lexile": "", "movies.pages": 624, "movies.dimensions": "6.00 (w) x 9.00 (h) x 1.50 (d)", "movies.overview": "

This singular collection is nothing less than a political, spiritual, and intensely personal record of America’s tumultuous modern age, as experienced by our foremost critics, commentators, activists, and artists. Joyce Carol Oates has collected a group of works that are both intimate and important, essays that move from personal experience to larger significance without severing the connection between speaker and audience.
\n From Ernest Hemingway covering bullfights in Pamplona to Martin Luther King, Jr.’s “Letter from Birmingham Jail,” these essays fit, in the words of Joyce Carol Oates, “into a kind of mobile mosaic suggest[ing] where we’ve come from, and who we are, and where we are going.” Among those whose work is included are Mark Twain, John Muir, T. S. Eliot, Richard Wright, Vladimir Nabokov, James Baldwin, Tom Wolfe, Susan Sontag, Maya Angelou, Alice Walker, Joan Didion, Cynthia Ozick, Saul Bellow, Stephen Jay Gould, Edward Hoagland, and Annie Dillard.

", "movies.excerpt": "Foreword
\nThe Essay in the Twentieth Century
\nWhen I was very young, my father purchased a small, uniform set of
\ncheap literary classics. Why, I never knew. He was not a reader.
\nPerhaps he had been duped by a door-to-door salesman. Perhaps he had
\naspirations for his children. The books crowded the only bookshelf in
\na cramped two-family house hedged in by humming factories on a narrow
\nstreet that dead-ended into the mysterious and spectacular sumac-
\nlined banks of the Passaic River in Paterson, New Jersey. As a result
\nof his once-in-a-lifetime purchase I grew up with the privilege of
\nknowing that Emerson was not merely the name of a television set.
\n
\nI found Emerson's message bracing and liberating. I can see
\nit now as self-help elevated to the highest literary standard, but
\nreading \"Self-Reliance\" as an adolescent I simply took heart from his
\nexhortations to resist conformity, trust in oneself, and not feel
\npressured by conventions, parties, and authority: \"I am ashamed to
\nthink how easily we capitulate to badges and names, to large
\nsocieties and dead institutions,\" he said. \"If I know your sect, I
\nanticipate your argument,\" he said. \"Insist on yourself; never
\nimitate,\" he said. He warned about the physical pain of forced smiles
\nand acknowledged the advantages of being misunderstood. If the
\nwritings of the medieval Jewish philosopher Maimonides comprised a
\nGuide for the Perplexed, Emerson's essays provided a Guide for the
\nIntimidated. His independent, freethinking, inquisitive mind shaped
\nAmerican thought and writing, and his spiritual heirsinvented the
\ntwentieth-century essay.
\nAlthough Emerson may be said to hover over the volume, his
\npresence can be detected more directly in one of his most prominent
\ndescendants, William James. Although this selection of great American
\nessays begins in 1901, one could argue that the symbolic origins of
\nthe twentieth-century essay go back to the day in 1842 when Emerson
\nwas invited by the James family to visit their New York apartment
\nand \"bless\" young William in his cradle. As a teacher, lecturer,
\nphysician, scientist, and one of the founders of modern psychology,
\nWilliam James would exert a powerful influence over the new century.
\nTwo of his students, W.E.B. Du Bois and Gertrude Stein, would
\npermanently alter the course of the American essay by initiating two
\nnew modes of literary introspection: Du Bois's \"double-consciousness\"
\ngrounded in racial identity and Stein's experiments with \"stream of
\nconsciousness.\" Both originated in the critical first decade of the
\ncentury, and their literary legacies can be felt throughout this
\ncollection.
\nThe twentieth-century essay also emerged from a resistance to
\nthe \"familiar\" or \"polite\" essay that had been a literary staple of
\nthe preceding era. Proper, congenial, Anglophilic, the genteel essay
\nsurvived, even against the skepticism and irascibility of the Mark
\nTwains, Randolph Bournes, and H. L. Menckens, who did their best to
\nbury it. By the 1930s, however, some writers were lamenting its
\ndemise, and in the most curious metaphors. \"The familiar essay, that
\nlavender-scented little old lady of literature, has passed away,\" one
\nwrote, regretting that magazines now filled their pages with \"crisp
\narticles, blatant exposés, or statistic-laden surveys,\" and
\nconcluding that one day \"her pale ghost will not appear at all, and
\nthe hard young sociologists can have her pages all to themselves.\"
\nBut the \"pale ghost\" did not vanish all at once. It lived on in
\ncollege courses and gave the essay a bad name for decades. The goal
\nof English teachers, the novelist Kurt Vonnegut recalls, was to get
\nyou \"to write like cultivated Englishmen of a century or more ago.\"
\nThis collection features none of those \"lavender-scented\"
\nessays, not even for historical reasons. Our object was not to
\nconstruct a Museum of the American Essay. Although some vestiges
\nof \"gentility\" or essayistic \"leisure\" may have seeped in here and
\nthere, the ruling idea behind the volume was that the essays should
\nspeak to the present, not merely represent the past. So you will find
\nmore \"hard young sociologists\" here than \"cultivated\" literati. After
\nall, some of those young social scientists were Jane Addams, Zora
\nNeale Hurston, and a youthful Saul Bellow, who happened to be
\nstudying sociology and anthropology at Northwestern at precisely the
\nsame time the genteel essayists were lamenting their own demise. The
\nsociologists, accompanied by such self-taught social critics as
\nEdmund Wilson, Richard Wright, and James Agee, brought the essay out
\nof the library and into the American factories, city streets,
\ncourthouses, and tenant farms. For many of them, ardent pacifists and
\nreformers, writing essays would amount to what James called \"the
\nmoral equivalent of war.\"
\nUnlike their predecessors, twentieth-century essayists were
\neager to confront inner as well as outer strife. To be sure, the
\ngenteel essay was personal, but no matter how \"familiar,\" it always
\npolitely stopped short of full disclosure. Here, too, William James
\nmade his presence felt. The brilliant chapters \"The Divided Self\"
\nand \"The Sick Soul\" in his monumental The Varieties of Religious
\nExperience (1902) would become a valuable resource for essayists
\nseeking ways to articulate despair, breakdowns, aberrant states of
\nconsciousness, psychic confusion, the ineffable in general. F. Scott
\nFitzgerald's famous observation in \"The Crack-Up\" - \"The test of a
\nfirst-rate intelligence is the ability to hold two opposed ideas in
\nthe mind at the same time, and still retain the ability to function\" -
\n laid out a course for future essayists and expanded the
\npossibilities of self-disclosure. As writers began amplifying the
\npersonal essay into what is now known singularly as \"the memoir,\" the
\nprocesses of confession would know no limits.
\nWhat next? Will this new century reject our \"best\" essays as
\ndramatically as the twentieth discarded those of James Russell Lowell
\nand Oliver Wendell Holmes? The 1890s, too, saw astonishing changes in
\ntechnology, rapid changes that frightened Henry Adams as he wondered
\nwhat the \"Law of Acceleration\" would finally lead to. We have reached
\nhis speculative end point - visionary though he was, he never
\nimagined a world transformed by electronics. The Internet is already
\ngenerating new sources of essays. Will it somehow channel the usual
\nprocesses of prose into new literary forms the way some thought the
\ntypewriter had once done? Will young essayists discover audiences
\nwithout having to sweat through the hundreds of rejection slips James
\nThurber received before he could break into print? And will they do
\nwhat few from any century have ever done: make a living writing
\nessays? These remain to be seen, but what I think we can say for
\ncertain is that whatever new forms the essay takes, if they are
\nwonderful, they will have the blessing of William James and his
\nlegitimate heirs.
\n
\nAbout This Collection
\nThis volume is not a \"best of the best.\" I founded The Best American
\nEssays series in 1986, and therefore Joyce Carol Oates and I had only
\na small slice of the century to provide us with essays that had
\nalready achieved an annual \"best\" status. Only seven of the essays in
\nthis volume come from the series. We wish we could have included many
\nmore of the superb contemporary writers who have contributed to the
\nyearly books, but it was of course not possible. Our consolation is
\nthat their work is still accessible to readers and that the annual
\nbooks are for the most part available in libraries and bookstores. It
\nwas important that we include writers from previous generations who
\nmay not be well known to today's readers and who in our opinion still
\nvery much deserve an audience.
\nI proceeded with this book in much the same way that I have
\nwith the annual volumes. I screened a good number of essays - though
\nfar, far more than usual - and turned them over to Joyce Carol Oates
\nfor a final decision. There were hundreds of essays to consider and
\nso little space. But we winnowed and winnowed and arrived at these
\nfifty-five. We tried to include the best of as many different kinds
\nof essay as possible - personal, critical, philosophical, humorous,
\npastoral, autobiographical, scientific, documentary, political.
\nObviously we had to pull back in many cases. A comparable volume
\ncould be assembled to showcase each one of these categories. I also
\nexercised one final choice: I insisted that Oates's essay from The
\nBest American Essays 1996, \"They All Just Went Away,\" be included.
\n \"Essays end up in books,\" Susan Sontag writes, \"but they
\nstart their lives in magazines.\" That fact may not interest many
\nreaders, but it played a large role in the research for this book,
\nsince between an essay's debut in a periodical and its inclusion in a
\ncollection, a good deal of revision often occurs. Vladimir Nabokov's
\nmemoir of his father, for example, went through three very distinct
\npublishing stages. It began life as \"The Perfect Past\" in The New
\nYorker in 1950, but Nabokov, dissatisfied with some of the editing,
\nreturned to his original typescript when he included (and expanded)
\nit as the opening chapter of his 1951 autobiography, Conclusive
\nEvidence. When he revised that book as Speak, Memory: An
\nAutobiography Revisited in 1966, he expanded the essay yet again. Of
\nthe three published versions, we chose - as we did with many of the
\nselections - to reprint the final version, as it would reflect and
\nrespect the author's final decisions. But in some instances
\n(consistency \"is the hobgoblin of little minds,\" Emerson said), we
\nselected the first or a different published version.
\nSome essays start out looking like essays only to reemerge in
\nunexpected contexts. James Agee's lovely childhood
\nreminiscence, \"Knoxville: Summer of 1915,\" started out in Partisan
\nReview in 1938 but was given a new twist when an editor cleverly
\nborrowed and italicized it in 1957 to serve as the introduction to
\nAgee's posthumously published novel, A Death in the Family. Other
\nessays in this book were also put to service by their authors to
\nintroduce works of fiction: Richard Wright's \"The Ethics of Living
\nJim Crow\" became the preface to his collection of stories Uncle Tom's
\nChildren, and N. Scott Momaday's \"The Way to Rainy Mountain\" now
\nserves as the prologue to his popular novel of the same title.
\nI discovered that there is rarely only one version of an
\nessay. Susan Sontag's useful observation sometimes gets reversed: an
\nessay starts out in book form and ends up in a magazine. Several
\nessays in this volume were skillfully carved out of books and re-
\ncreated either by their authors or a magazine's editors as
\nindependent essays. Usually, what's required is the removal of the
\ninterstitial glue that connects a book's separate chapters. For
\nexample, the opening sections of Maya Angelou's 1970 memoir, I Know
\nWhy the Caged Bird Sings, were transformed into a memorable childhood
\nreminiscence of the same title in Harper's Magazine.
\nBecause essays may go through so many publishing variations,
\nsettling on a precise date for each selection was no easy matter. I
\nproceeded largely case by case. Nabokov's 1966 essay on his father
\nwas so transformed from its 1950 origins that it seemed only
\nreasonable to use the later date. So, too, I decided to use the final
\npublication date for John Muir's Alaskan adventures with his
\nunforgettable companion Stickeen; it was that version, and not the
\nearlier and now forgotten essay, that became his most popular work.
\nBut occasionally I thought it would be misleading to use the final
\ndate of publication. Langston Hughes's \"Bop,\" for example, clearly
\ncomes out of the forties; though it was revised considerably for
\nsubsequent book publication, to place it in a later decade would
\ndistort its contemporary flavor. An essay like Mark Twain's \"Corn-
\npone Opinions,\" never published in the author's lifetime, is listed
\nby date of composition.
\nFor the reader's convenience, I have attached brief notes to
\neach essay outlining its publishing history and supplying relevant
\ncontextual information. I have placed an asterisk before the source
\nused for this collection. I have also translated foreign words and
\nphrases within brackets when it seemed necessary. Additional
\ninformation is contained in the Biographical Notes in the back of the
\nbook, where I included pertinent information on the writer's career,
\nrelevant details to establish a context for the selected essay, and
\ntitles of books and collections (with the emphasis on nonfiction)
\nthat will direct interested readers to more books by that writer.
\nWriters and magazine editors interested in submitting
\npublished essays for the annual volumes should send complimentary
\nissues, subscriptions, or appropriate material to Robert Atwan,
\nSeries Editor, The Best American Essays, Box 220, Readville,
\nMassachusetts 02137-9998. Criteria and guidelines can be found in the
\nannual book.
\nAcknowledgments
\nAs I researched books and periodicals for this unprecedented volume,
\nI often felt like Henry Adams, poised at the crossroads of two time
\nperiods: the rapidly accelerating age of cyberspace that instantly
\nfurnishes vast amounts of information and the old-fashioned era of
\ndim library stacks and dusty, out-of-print books. The experience was
\nboth high-tech and low-tech. If it was satisfying to sit at my desk
\nand click a few keys for immediate access to material that only a few
\nyears ago would have required frequent library visits, it was even
\nmore satisfying to hold in my hand hardcover first editions of books
\nlike Martin Luther King's Why We Can't Wait or H. L. Mencken's
\nPrejudices. Even obtaining these books involved travel in both
\nworlds: through the Internet I could enter my local library's
\nregional network, discover books it didn't own, and conveniently
\norder them online. A day or two later - and sometimes within hours -
\nI would be experiencing the tactile and intellectual pleasures of
\nhandling some of the treasured pieces of our literary heritage. For
\ntheir invaluable assistance, then, I want to thank especially the
\nstaff of the Milton Public Library as well as all the other
\ninstitutions connected with the Old Colony Library Network in
\nMassachusetts.
\nWhat I was unable to find, my researcher could. Much of the
\nknottier research - establishing the original source or date of an
\nessay, or tracking down an elusive periodical - was performed by
\nDonna Ashley, who relied on the superb resources of the libraries at
\nthe Massachusetts Institute of Technology, Boston University, Boston
\nCollege, and the Boston Public Library. Nearly all of the source
\nnotes attached to each essay derive from her dogged research; without
\nher assistance this project might have taken another year to
\ncomplete. I want to thank, too, Arthur Johnson for his generous help
\nin providing permissions data for all of the essays. I borrowed a
\ngood deal of biographical information about the essayists from some
\nof my previous anthologies and would like to thank a few coeditors
\nfor their contributions: Martha Banta, Bruce Forer, Justin Kaplan,
\nDonald McQuade, David Minter, Jon Roberts, Robert Stepto, and William
\nVesterman. I'm enormously grateful to Charles H. Christensen for his
\nadvice and encouragement over the years. The Houghton Mifflin staff
\nhas been helpful and supportive as always, and I'd like to thank
\nJanet Silver, Sean Lawler, Larry Cooper, Bridget Marmion, Dean
\nJohnson, and Bruce Cantley for all their efforts. My wife, Hélène
\nAtwan, kindly read over portions of the manuscript and offered many
\nvaluable suggestions for which I am very grateful. Finally, it was a
\ngreat pleasure to work once again with Joyce Carol Oates. Her broad
\nknowledge of American writing and her literary judgment transformed
\nwhat seemed like a paralyzing critical task - reducing several
\nhundred great essays to a mere fifty-five - into a spirited,
\nilluminating assessment of the modern American essayist's struggle to
\nencompass the creative energies and social emergencies of a century
\nthat had no shortage of either.
\nRobert Atwan
\n
\nIntroduction
\nThe Art of the (American) Essay
\nHere is a history of America told in many voices.
\nIt's an elliptical tale, or a compendium of tales, of the
\nAmerican twentieth century by way of individual essays that, fitting
\ntogether into a kind of mobile mosaic, suggest where we've come from,
\nand who we are, and where we are going. In his probing,
\nprovocative \"The Creation Myth of Cooperstown,\" Stephen Jay Gould
\nasks: \"Why do we prefer creation myths to evolutionary stories?\" The
\nmore we know of history, of both the natural and the civilized
\nworlds, the more we understand that our tangled lives are ever
\nevolving, and that our culture, far from being timeless, is a living
\nexpression of Time.
\nThe essay, in its directness and intimacy, in its first-
\nperson authority, is the ideal literary form to convey such a vision.
\nBy tradition essays have been categorized as formal or informal; yet
\nit can be argued that all essays are an expression of the human voice
\naddressing an imagined audience, seeking to shift opinion, to
\ninfluence judgment, to appeal to another in his or her common
\nhumanity. Even the most artfully composed essay suggests a
\nnaturalness of discourse. As our precursor Montaigne advised, \"We
\nmust remove the mask.\"
\nThe essays in this volume have all been written by writers
\nwho have published at least one collection of essays or nonfiction.
\nNot only did this principle allow the editors a reasonable means of
\nlimiting selections, it is an acknowledgment that writing is a
\nvocation, not merely an avocation. In a historical overview of a
\ncentury virtually teeming with talent, I wanted to honor those
\nwriters who have made writing their life's work. I didn't see my role
\nas one to reward the lucky amateur who writes a single good essay,
\nthen disappears forever. Better to search for little-known but
\nexcellent essays by, for instance, writers of historical significance
\nlike John Jay Chapman, Jane Addams, Edmund Wilson. Most of the essays
\nare \"informal\"; but this isn't to suggest that they are innocent,
\nunmediated utterances lacking the stratagems of art. Even Mark
\nTwain's \"Corn-pone Opinions,\" delivered in the author's
\ncharacteristic forthright voice, is driven by a passionate
\nintellectual conviction regarding the gullibility of mankind and the
\ntragic consequences of this gullibility.
\nMy general theme in the assemblage of this volume has been a
\nsearch for the expression of personal experience within the
\nhistorical, the individual talent within the tradition (to paraphrase
\nT. S. Eliot). My preference was always to essays that, springing from
\nintense personal experience, are nonetheless significantly linked to
\nlarger issues, even if, as in the case of James Thurber and S. J.
\nPerelman, these issues are viewed playfully. The emotion I felt when
\nbeginning to read most of the essays gathered here was one of great
\nexcitement and anticipation; even, at times, a distinct visceral
\nthrill. As an editor, I am primarily a reader. I could not
\ncountenance including essays out of duty's sake that, in fact, I
\nfound deadly dull. For the many essays considered for this volume,
\nthe majority of which ultimately had to be excluded, I was the ideal
\nreader: I wanted to like what I read, and I was committed to reading
\nthe entire essay with sympathy. If you will substitute \"literature\"
\nfor \"poetry\" in this famous remark in a letter of Emily Dickinson's,
\nyou have my basic criterion for the work included in The Best
\nAmerican Essays of the Century: \"If I read a book [and] it makes my
\nwhole body so cold no fire can ever warm me I know that is poetry. If
\nI feel physically as if the top of my head were taken off, I know
\nthat is poetry.\"
\nAnd what powerful openings in certain of these exemplary
\nessays:
\nWe are met to commemorate the anniversary of one of the most terrible
\ncrimes in history - not for the purpose of condemning it, but to
\nrepent of our share in it.
\n- John Jay Chapman, \"Coatesville\" (1912)
\nThe knowledge of the existence of Devil Baby burst upon the residents
\nof Hull House one day when three Italian women, with an excited rush
\nthrough the door, demanded that he be shown to them.
\n- Jane Addams, \"The Devil Baby at Hull-House\" (1916)
\nOf course all life is a process of breaking down, but the blows that
\ndo the dramatic side of the work - the big sudden blows that come, or
\nseem to come, from outside - the ones you remember and blame things
\non and, in moments of weakness, tell your friends about, don't show
\ntheir effect all at once. There is another sort of blow that comes
\nfrom within - that you don't feel until it's too late to do anything
\nabout it, until you realize with finality that in some regard you
\nwill never be as good a man again.
\n- F. Scott Fitzgerald, \"The Crack-Up\" (1936)
\nThe cradle rocks above an abyss, and common sense tells us that our
\nexistence is but a brief crack of light between two eternities of
\ndarkness.
\n- Vladimir Nabokov, \"Perfect Past\" (1950)
\nOn the twenty-ninth of July, in 1943, my father died. On the same
\nday, a few hours later, his last child was born. Over a month before
\nthis, while all our energies were concentrated in waiting for these
\nevents, there had been, in Detroit, one of the bloodiest race riots
\nof the century.
\n- James Baldwin, \"Notes of a Native Son\" (1955)
\nThe decaying, downtown shopping section of Memphis - still another
\nMain Street - lay, the weekend before Martin Luther King's funeral,
\nunder a siege.
\n- Elizabeth Hardwick, \"The Apotheosis of Martin Luther King\" (1968)
\nWe were all strapped into the seats of the Chinook, fifty of us, and
\nsomething, someone was hitting it from the outside with an enormous
\nhammer. How do they do that? I thought, we're a thousand feet in the
\nair!
\n- Michael Herr, \"Illumination Rounds\" (1977)
\nWe tell ourselves stories in order to live.
\n- Joan Didion, \"The White Album\" (1978)
\nOf course there are crucial distinctions between the art of
\nthe essay and the art of prose fiction, yet to the reader the
\nimmediate experience in reading is an engagement with that mysterious
\npresence we call voice. Reading, we \"hear\" another's speech
\nreplicated in our heads as if by magic. Where in life we sometimes
\n(allegedly infrequently) fall in love at first sight, in reading we
\nmay fall in love with the special, singular qualities of another's
\nvoice; we may become mesmerized, haunted; we may be provoked,
\nshocked, illuminated; we may be galvanized into action; we may be
\nenraged, revulsed, and yet! - drawn irresistibly to experience this
\nvoice again, and again. It's a writer's unique employment of language
\nto which we, as readers, are drawn, though we assume we admire the
\nwriter primarily for what he or she \"has to say.\" For consider: how
\nmany intelligent, earnest, right-minded commentators published essays
\non such important subjects as racial conflict in twentieth-century
\nAmerica, social and personal disintegration in the thirties,
\nmorality, democracy, nostalgia-for-a-vanishing-America; class
\nstruggle, civil rights, Martin Luther King, Jr., the Vietnam War, the
\nmystical experience of nature, ethnic diversity, various
\nAmerican \"myths\" - and how few of these are worth rereading, let
\nalone enshrining, in this new century. To be an editor in so massive
\nan undertaking, committed to reading with sympathy countless essays
\nof high worth and distinction published in the most prestigious
\njournals of their era, beginning in about 1900 and sweeping through
\nthe decades, is to experience first-hand that quickening of dread,
\nwhich Nabokov calls mere \"common sense,\" in the realization of human
\nmortality. So many meritorious voices, so much evidence of American
\ngood will and wisdom, and so many fallen by the wayside! There were
\ntimes when I felt as if I were indeed standing at the edge of an
\nabyss, entrusted with rescuing pages of impeccable prose being blown
\npast me into oblivion, preserving what I could, surrendering all the
\nrest. (Those excellent essayists of a bygone time John Muir, Randolph
\nBourne, and John Jay Chapman are preserved here; surrendered to the
\nexigencies of space limitations are John Burroughs, George Santayana,
\nJoseph Wood Krutch, Ellen Glasgow, and others listed in the Appendix.)
\nMy belief is that art should not be comforting; for comfort,
\nwe have mass entertainment, and one another. Art should provoke,
\ndisturb, arouse our emotions, expand our sympathies in directions we
\nmay not anticipate and may not even wish. Art should certainly aspire
\nto beauty, but there are myriad sorts of beauty: the presentation of
\na subject in the most economical way, for instance; a precise choice
\nof language, of detail. There is beauty in the calibrated ugliness of
\nthe opening of William Gass's meditation on suicide and art, \"The
\nDoomed in Their Sinking,\" because it is so finely calibrated; there
\nis beauty in the eloquent, elegiac expression of hurt, rage, and
\ndespair in James Baldwin's \"Notes of a Native Son,\" because it is
\neloquent and elegiac, in the service of art. That staple of
\ntraditional essay collections, the unhurried musings of a disembodied
\n(Caucasian, male, privileged) consciousness, is missing here, except
\nfor its highest, most lyric expression in E. B. White's classic \"Once
\nMore to the Lake\" and its total transmogrification in Edward
\nHoagland's powerful \"Heaven and Nature\" - which is about neither
\nheaven nor nature. (Hoagland, one of the few American writers who has
\nforged a brilliant career out of essays, is our Chopin of the genre.
\nThough best known for such nature essays as \"The Courage of
\nTurtles,\" \"Red Wolves and Black Bears,\" and \"Earth's Eye,\" in the
\ntradition of Thoreau, Hoagland is equally memorable as a recorder of
\nstartling, confessional utterances of a kind the very private Thoreau
\nwould not have dared.) Though there are deeply moving essays in the
\nnostalgic/musing mode by such fine writers as White, James Agee,
\nEudora Welty, and John Updike, I have given more space to what might
\nbe called a radical expansion of this familiar genre, essays that
\nhave the power of personal nostalgia yet are not sentimental, and in
\nwhich private contemplation touches on crucial public issues, as Zora
\nNeale Hurston's \"How It Feels to Be Colored Me,\" Richard
\nWright's \"The Ethics of Living Jim Crow,\" Baldwin's \"Notes of a
\nNative Son,\" Loren Eiseley's \"The Brown Wasps,\" N. Scott
\nMomaday's \"The Way to Rainy Mountain,\" Maya Angelou's \"I Know Why the
\nCaged Bird Sings,\" Richard Rodriguez's \"Aria: A Memoir of a Bilingual
\nChildhood,\" and others. If you begin Edmund Wilson's \"The Old Stone
\nHouse\" presuming it to be another nostalgic lament for a vanishing
\nAmerica, you will be shocked by the author's conclusion:
\nAnd what about me? As I come back in the train, I find that - other
\ncauses contributing - my depression of Talcottville deepens. I did
\nnot find the river and the forest of my dream - I did not find the
\nmagic of the past . . . I would not go back to that old life if I
\ncould: the civilization of northern New York - why should I idealize
\nit? - was too lonely, too poor, too provincial.
\nSimilarly, Donald Hall's \"A Hundred Thousand Straightened Nails\" is
\nboth a sympathetic portrait of an older relative of the writer's and
\na devastating critique of the romance of American rural eccentricity,
\nthe stock material of how many homespun reminiscences in the Norman
\nRockwell mode:
\n[Washington Woodward] worked hard all his life at being himself, but
\nthere were no principles to examine when his life was over . . . The
\nlife that he could recall totally was not worth recalling; it was a
\nbox of string too short to be saved.
\nApart from being first-rate reportage, Joan Didion's \"The White
\nAlbum\" can be seen as a radical variant of the genre of nostalgia as
\nwell, in which the essayist positions her intimate, interior life
\n(\"an attack of vertigo and nausea does not seem to me an
\ninappropriate response to the summer of 1968\") within the larger,
\nwayward, and \"poorly comprehended\" life of our culture circa 1966-
\n1978, with the defiant conclusion \"writing [this] has not yet helped
\nme to see what it means\": the antithesis of the traditional essay,
\nwhich was organized around a principle, or epiphany, toward which it
\nconfidently moved. So too Michael Herr's \"Illumination Rounds,\" from
\nDispatches, is appropriately ironically titled, for little is finally
\nilluminated in this account of a young American journalist's visit to
\nVietnam in the mid-seventies, at the height of that protracted and
\ntragic war; the techniques of vividly cinematic fiction writing are
\nhere employed in the service of the author's vision, but there is,
\nconspicuously, no \"moral\" - no \"moralizing.\" This is the art of the
\ncontemporary essay, or memoir: a heightened, trompe l'oeil attention
\nto detail that allows the reader to see, hear, witness, as if at
\nfirst hand, what the essayist has witnessed. Though this
\nis \"informal\" writing, there is no lack of form. Postmodernist
\nstrategies of fragmentation and collage have replaced that of
\nexposition, summary, and argument.
\n
\nFor all their diversity, essays tend to fall into three general
\ntypes: those that present opinions primarily, and have been written
\nto \"instruct\"; those that impart information and knowledge; and those
\nthat record personal impressionistic experiences, especially
\nmemories. These categories often overlap, of course, as in the
\noutstanding essays named above, and in recent years, judging from the
\nannual series The Best American Essays, from which essays in this
\nvolume published since 1985 have been taken, the genre has evolved
\ninto a form closely akin to prose fiction and prose poetry, employing
\ndialogue, dramatic scenes, withheld information, suspense.
\nThe essay of opinion, of which Montaigne (1533-1592) was an
\nearly, highly influential master, was for centuries the
\nquintessential essay. Here, you find no dialogue or dramatic scenes,
\nonly a rational, reasoning voice. Such an essay is an argument, often
\ncouched in conversational terms; its intention is to instruct, to
\nilluminate, to influence. Except for editorial and op-ed pages of
\nnewspapers, in which they appear in miniature form, and in a very few
\ngeneral-interest magazines like Harper's and the Atlantic, such
\nessays are not much favored today. In our egalitarian culture we tend
\nto feel, rightly or wrongly, that an essayist's opinion is only as
\ngood as his or her expertise, and in such uncharted areas as ethics,
\nmorals, and general wisdom, whose opinion should be taken more
\nseriously than anyone else's? In the past, however, the gentlemanly
\nart of opinion-offering was commonplace; Ralph Waldo Emerson is the
\nNorth American master of this form. With the publication of \"Nature\"
\nin 1836, Emerson's prestige and influence through the whole of the
\nnineteenth century was incalculable. Here was a brilliant aphoristic-
\nphilosophical mind expressed in an elegantly idiosyncratic language.
\nHenry David Thoreau, Emerson's younger contemporary, combines strong
\nopinions with a wealth of observed information and firsthand
\nexperience in a crystalline, poetic prose, and for this reason seems
\nto us more modern, and far more accessible, than Emerson. There is a
\nrich subcategory of American essays, the confrontation of nature by a
\nrefined, fastidiously observing consciousness, that has descended to
\nus from Thoreau; I would have dearly liked to include more
\npractitioners of this sort but had room for only John Muir, Rachel
\nCarson, Loren Eiseley, Annie Dillard, and Gretel Ehrlich. (But all
\nthese essays are gems.) In general, our patience tends to wear thin
\nwhen we're confronted with sermonizing in its many forms; I most
\noften encountered such essays among those published in the first four
\nor five decades of the century, when magazines seemed to have
\nunlimited space for rambling, genial prose by men with nothing
\nespecially urgent on their minds apart from platitudes of nature and
\nmorality. Who were the readers of these essays, I wondered. The more
\nelusive the subject, the more verbose the style, as in two
\nfascinating masterpieces of ellipsis, indirection, and irresolution
\nby Henry James at his most baroque, \"Is There a Life after Death?\"
\n(1910) and \"Within the Rim\" (1915). (\"Is There a Life after Death?\"
\nwas initially included in this volume, and then reluctantly excluded;
\nthen included again, and finally excluded. A longtime admirer of
\nHenry James, I wanted badly for him to be represented, but the essay
\nis, one might say, \"Jamesian,\" and long, and could hardly be
\njustified as among the best of the century. And \"Within the Rim,\" on
\nthe apparent theme of war, is even more abstruse.)
\nYet for all their unfashionableness, the opinion essays
\nincluded here are, I think, excellent, and will repay the sort of
\nclose, sympathetic reading required for prose that isn't immediately
\ngripping and specific. Henry Adams's \"A Law of Acceleration,\" from
\nthe classic The Education of Henry Adams, is a bravura work of
\nastonishing intellectual abstraction; written nearly one hundred
\nyears ago, it strikes a disturbingly contemporary note in its somber
\ncontemplation of a mechanistic universe reduced to a series
\nof \"relations\" and mankind itself reduced to \"Motion in a universe of
\nMotions, with an acceleration . . . of vertiginous violence.\" With
\nthe authority of science, Adams says, history has no right to meddle,
\nsince science \"now lay in a plane where scarcely one or two hundred
\nminds in the world could follow its mathematical processes.\"
\nFittingly, William James's famous \"The Moral Equivalent of War\" was
\nwritten in the same year, 1910, as Henry James's \"Is There a Life
\nafter Death?\" Though William James is a far more lucid prose stylist
\nthan his younger brother, both brothers are concerned with profound
\nquestions of life and death; William James broods upon the future of
\ncivilization itself in a prophetic work that looks ahead to Freud's
\nlate, melancholic Civilization and Its Discontents (1930). What is
\nhistory but a bloodbath? \"The horrors make the fascination. War is
\nthe strong life; it is life in extremis; war-taxes are the only ones
\nmen never hesitate to pay, as the budgets of all nations show us.\"
\nJohn Jay Chapman, once considered an essayist of nearly Emerson's
\nstature, is not much read today, yet his passionate meditation upon a
\nnotorious lynching that took place in Coatesville, Pennsylvania, in
\n1911 transcends its time and tragic circumstances.
\nThe two most influential literary essays of the twentieth
\ncentury are perhaps T. S. Eliot's \"Tradition and the Individual
\nTalent\" (\"The emotion of art is impersonal\") and Robert Frost's \"The
\nFigure a Poem Makes\" (\"No tears in the writer, no tears in the
\nreader\"); each gains from being read in conjunction with the other.
\nSui generis is Gertrude Stein's \"What Are Master-pieces and Why Are
\nThere So Few of Them,\" itself a masterpiece of polemics, an argument
\nthat convinces by sheer repetition:
\n. . . One has not identity [when] one is in the act of doing
\nanything. Identity is recognition, you know who you are because you
\nand others remember anything about yourself but essentially you are
\nnot that when you are doing anything. I am I because my little dog
\nknows me but, creatively speaking the little dog knowing that you are
\nyou and your recognizing that he knows, is what destroys creation.
\nH. L. Mencken's \"The Hills of Zion\" is, like many of
\nMencken's essays and columns, a passionate repudiation of evangelical
\nChristianity and anti-intellectualism. This is sermonizing disguised
\nas social satire, zestful in its accumulation of damning details; one
\ncan see why the young Negro Richard Wright was so impressed by
\nMencken's example, seeing the older white man as \"fighting, fighting
\nwith words . . . using words as a weapon . . . as one would use a
\nclub.\" Katherine Anne Porter's \"The Future Is Now\" is an almost
\npurely cerebral opinion piece, less compelling perhaps than Porter's
\nelegantly composed short stories, but gracefully argued nonetheless,
\nwhile \"Artists in Uniform,\" one of Mary McCarthy's most anthologized
\nessays, smoothly combines her satirical gifts with her passion for
\nintellectual discourse. Susan Sontag's \"Notes on Camp\" is both
\nopinion essay and cultural criticism of a high order; Adrienne Rich's
\ndramatically fragmented \"Women and Honor: Some Notes on Lying\" might
\nbe defined as an essay of opinion in a unique, poetic form. Essays by
\nAlice Walker, Richard Rodriguez, N. Scott Momaday, and Cynthia Ozick
\nadvance arguments by means of an accumulation of memoirist detail,
\nand each presents us with the wonder of how, in Ozick's words, \"a
\nwriter is dreamed and transfigured into being.\" And essays that seem
\nto be primarily concerned with the imparting of information and
\ndescription, like Loren Eiseley's \"The Brown Wasps,\" Tom
\nWolfe's \"Putting Daddy On,\" Elizabeth Hardwick's \"The Apotheosis of
\nMartin Luther King,\" Lewis Thomas's \"The Lives of a Cell,\" Annie
\nDillard's \"Total Eclipse,\" among others, contain arguments of
\nsubtlety and insight. Saul Bellow's \"Graven Images\" is a meditation
\nin the author's characteristic ironic mode on photography as a
\nviolation of personal dignity and privacy and the \"revolutionary
\ntransformation\" of a world that no longer honors such values. John
\nMcPhee's wonderfully original \"The Search for Marvin Gardens\" makes
\nof the popular American board game an allegory of capitalist
\nadventure, and rewards us with the unexpected discovery of the
\nsecluded middle-class bastion Marvin Gardens, the security-
\npatrolled \"suburb within a suburb\" that is one's reward for winning
\nthe game.
\nThe earliest essay in the anthology, Mark Twain's \"Corn-pone
\nOpinions,\" is a superbly modulated argument that begins with an
\nengaging portrait of a young black slave (this is the Missouri of
\nTwain's childhood, in the 1850s) and proceeds to a ringing
\ndenunciation of cultural chauvinism that is as relevant to our time
\nas it was to Twain's:
\nBroadly speaking, there are none but corn-pone opinions. And broadly
\nspeaking, corn-pone stands for self-approval. Self-approval is
\nacquired mainly from the approval of other people. The result is
\nconformity.
\nBy which Twain means that deathly conformity that leads to an
\nacceptance of slavery, lynchings, white bigotry, and injustice in a
\nnation constituted as a democracy.
\nTwain's essay strikes a chord that resounds through the
\nanthology: the ever-shifting, ever-evolving issue of race in America.
\nIt can't be an accident that the essays in this volume by men and
\nwomen of ethnic minority backgrounds are outstanding; to paraphrase
\nMelville, to write a \"mighty\" work of prose you must have a \"mighty\"
\ntheme. And what mightier, what more challenging and passionate theme
\nfor both writer and reader than how it feels to be of minority status
\nin America, from the time of W.E.B. Du Bois in the first decade of
\nthe century to our contemporaries Maya Angelou, N. Scott Momaday,
\nMaxine Hong Kingston, Alice Walker, Richard Rodriguez, and Gerald
\nEarly? For historical reasons obviously having to do with slavery,
\nthe experience of blacks in America has been significantly different
\nfrom that of other minorities, and this fact is reflected in the
\nessays included here.
\nW.E.B. Du Bois's \"Of the Coming of John,\" from The Souls of
\nBlack Folk (1903), is a chillingly prophetic work that traces the
\nintellectual and spiritual evolution of a seemingly ordinary black
\nboy from southeastern Georgia who is sent north to be educated in a
\nNegro school, returns after seven years to his hometown so thoroughly
\nchanged that he seems more foreign to his former relatives and
\nneighbors than a Georgian white man would be, and is given advice by
\nthe kindly white Judge:
\n\". . . You and I both know, John, that in this country the Negro must
\nremain subordinate, and can never expect to be the equal of white
\nmen. In their place, you people can be honest and respectful; and God
\nknows, I'll do what I can to help them. But when they want to reverse
\nnature . . . by God! we'll hold them under if we have to lynch every
\nNigger in the land.\"
\nZora Neale Hurston in \"How It Feels to Be Colored Me\" (1928) defines
\nherself very differently from Du Bois's tragic protagonist, partly
\nbecause she has been raised in a \"colored town\" in Florida,
\nEatonville. Her defiance strikes us as courageous, and touching:
\nAt certain times I have no race, I am me . . . Sometimes, I feel
\ndiscriminated against, but it does not make me angry. It merely
\nastonishes me. How can any deny themselves the pleasure of my
\ncompany! It's beyond me.
\nRichard Wright's \"The Ethics of Living Jim Crow: An Autobiographical
\nSketch,\" the preface to Wright's 1938 collection of novellas, Uncle
\nTom's Children, would become a section of his heralded Black Boy
\n(1945). Wright's education in Jim Crow \"wisdom\" begins ironically
\nwith a beating his mother gives him for having dared to fight with
\nwhite boys, and carries him into a prematurely cynical adolescence;
\nit's a vision of the American South contiguous with that of New York
\nCity in the 1940s experienced by Langston Hughes.
\nPerhaps the preeminent essayist of the American twentieth
\ncentury is James Baldwin, and it seems fitting that Baldwin wrote his
\nmost powerful and influential nonfiction works, Notes of a Native
\nSon, Nobody Knows My Name, and The Fire Next Time, at about
\nmidcentury. Baldwin was a natural master of a kind of nonfiction
\nnarration we associate with the most engaging fiction, in which
\npersonal, familial experience is linked with a larger social and
\npolitical context that enhances it as myth. Like his mentor Richard
\nWright, James Baldwin was a poet of irony; his bitterness and rage at
\nsocial injustice was so finely distilled, his use of language so
\nimpassioned and fluent, he made of the most tragically debased
\nmaterials a world of startling beauty. Baldwin's is a secular
\nmystical vision that seems to us quintessentially American:
\nAll of my [newly deceased] father's texts and songs, which I had
\ndecided were meaningless, were arranged before me at his death like
\nempty bottles, waiting to hold the meaning which life would give them
\nfor me. This was his legacy: nothing is ever escaped . . . The dead
\nman mattered, the new life mattered; blackness and whiteness did not
\nmatter; to believe they did was to acquiesce in one's own
\ndestruction. Hatred, which could destroy so much, never failed to
\ndestroy the man who hated and this man was an immutable law.
\nThis is the vision of Martin Luther King, Jr., expressed in
\nhis historic 1963 \"Letter from Birmingham Jail\": \"One who breaks an
\nunjust law must do it openly, lovingly . . . and with a willingness
\nto accept the penalty.\"
\n
\nRobert Atwan, who has been an invaluable series editor for the highly
\nregarded The Best American Essays since its inception in 1986,
\nassisted me tirelessly and with inspiration in our months-long effort
\nof sifting through any and all essays that were possibilities for
\nthis anthology. We have been limited, or, one might say, assisted, in
\nour selections only since 1986, being obliged to choose essays from
\nthe series anthology after that date; before 1986, we had no
\nrestrictions. Our decision to reprint essays only by writers who have
\npublished nonfiction books helped to limit our search, as did our
\nexclusion of journalism, excepting unique reportage like
\nHemingway's \"Pamplona in July\" and Michael Herr's \"Illumination
\nRounds.\" We hoped to avoid prose fiction in essay form, though such
\nprose pieces as W.E.B. Du Bois's \"Of the Coming of John\" and Langston
\nHughes's \"Bop\" certainly employ fictional techniques; we excluded
\nliterary criticism - though some of our finest writers, like Randall
\nJarrell, Jacques Barzun, and Lionel Trilling, have excelled in it -
\nand footnote-laden academic essays for a limited readership, even by
\nHannah Arendt. Much as I wanted to include Henry James, as I've noted
\nabove, I could not justify reprinting a long, convoluted skein of
\nwords that few readers would read. Nor could I include another major
\ntwentieth-century writer, Willa Cather, whose available essays were
\nsimply inappropriate, and lengthy. Of Norman Mailer's nonfiction
\nwork, \"The Fight\" would have been my choice for this volume, but it's
\nbook length (and has already appeared in The Best American Sports
\nWriting of the Century); other essays of Mailer's, like \"The White
\nNegro,\" controversial in their time, are badly dated today. Gay
\nTalese, a brilliant practitioner of what has come to be known as New
\nJournalism, has written no \"essays\" per se. William Carlos Williams,
\nRalph Ellison, John Hersey, Wallace Stegner, Barbara Tuchman, Gore
\nVidal, most painfully William Faulkner: these important writers had
\nno single appropriate essay. Faulkner in particular seems to have had
\nlittle aptitude, or perhaps inspiration, for the essay form.
\nOf contemporary essayists there are so many - so very many! -
\nwho might well be included here, it isn't possible to list their
\nnames except in the Appendix. Quite apart from the numerous memoirs
\nof high quality being written today, and published to much acclaim,
\nthis is a remarkably fruitful era for the personal essay. The
\ntriumph, one might say, of the mysterious pronoun \"I.\"
\nIt was the aim of the editors to tell a more or less
\nchronological story of America as the century unfolded, with
\nrepresentative essays from each decade, as we have done; yet, the
\nreader will note, the traumatic experiences of World War II, vividly
\ndescribed by William Manchester in \"Okinawa: The Bloodiest Battle of
\nAll,\" does not appear in the forties but decades later, in 1987; and
\nnumerous other essays, stimulated by memory and meditation, have been
\nwritten years after the occasion of their subjects. The ideal essay,
\nin any case, is as timeless as any work of art, transcending the
\ncircumstances of its inception. It moves, as Robert Frost says of the
\nideal poem, from delight to wisdom, and \"rides on its own melting,\"
\nlike ice on a hot stove.
\nJoyce Carol Oates
\n
\nCopyright © 2000 by Houghton Mifflin Company
\nIntroduction copyright © 2000 by The Ontario Review Inc.
\nAll rights reserved", "movies.synopsis": "

This singular collection is nothing less than a political, spiritual, and intensely personal record of America’s tumultuous modern age, as experienced by our foremost critics, commentators, activists, and artists. Joyce Carol Oates has collected a group of works that are both intimate and important, essays that move from personal experience to larger significance without severing the connection between speaker and audience.
From Ernest Hemingway covering bullfights in Pamplona to Martin Luther King, Jr.’s “Letter from Birmingham Jail,” these essays fit, in the words of Joyce Carol Oates, “into a kind of mobile mosaic suggest[ing] where we’ve come from, and who we are, and where we are going.” Among those whose work is included are Mark Twain, John Muir, T. S. Eliot, Richard Wright, Vladimir Nabokov, James Baldwin, Tom Wolfe, Susan Sontag, Maya Angelou, Alice Walker, Joan Didion, Cynthia Ozick, Saul Bellow, Stephen Jay Gould, Edward Hoagland, and Annie Dillard.

Publishers Weekly

\"Here is a history of America told in many voices,\" declares Oates in her introduction, revealing the heart of her intelligent and incisive collection of 55 essays by American writers. Never attempting to capture or replicate a single, authentic \"American identity,\" this collection succeeds by producing a comprehensive and multifaceted look at what America has been and, by extension, what it is and might become. While it's not explicitly political, the volume's multicultural intentions are visible. Beginning with \"Cone-pone Opinions,\" a 1901 Mark Twain essay that uses the wisdom of an African-American child as its central image, Oates has fashioned a collection that calls attention to the way that \"America\" is made up of competing, and often antagonistic, cultural and social visions. There is not only the apparent contrast between the populist, overtly political visions of W.E.B. Du Bois's \"Of the Coming of John,\" James Baldwin's \"Notes of a Native Son\" and Mary McCarthy's \"Artists in Uniform\" and the cultural elitism of T.S. Eliot's \"Tradition and the Individual Talent.\" Oates has managed to find numerous pieces whose vision and philosophy resonate with one another without becoming homogeneous, so Gretel Ehrlich's meditation on pastoral aesthetics in \"The Solace of Open Spaces\" contrasts abruptly and ingeniously with Susan Sontag's urban-centered \"Notes on Camp.\" In all, Oates has assembled a provocative collection of masterpieces reflecting both the fragmentation and surprising cohesiveness of various American identities. QPB and History Book Club selections; BOMC alternate. (Sept.) Copyright 2000 Cahners Business Information.|

", "movies.toc": "

	Foreword	x
	Introduction	xvii
	1901: Corn-pone Opinions	1
	1903: Of the Coming of John	6
	1906: A Law of Acceleration	20
	1909: Stickeen	28
	1910: The Moral Equivalent of War	45
	1911: The Handicapped	57
	1912: Coatesville	71
	1916: The Devil Baby at Hull-House	75
	1919: Tradition and the Individual Talent	90
	1923: Pamplona in July	98
	1925: The Hills of Zion	107
	1928: How It Feels to Be Colored Me	114
	1933: The Old Stone House	118
	1935: What Are Master-pieces and Why Are There So Few of Them	131
	1936: The Crack-Up	139
	1937: Sex Ex Machina	153
	1937: The Ethics of Living Jim Crow: An Autobiographical Sketch	159
	1938: Knoxville: Summer of 1915	171
	1939: The Figure a Poem Makes	176
	1941: Once More to the Lake	179
	1944: Insert Flap \"A\" and Throw Away	186
	1949: Bop	190
	1950: The Future Is Now	193
	1953: Artists in Uniform	199
	1955: The Marginal World	214
	1955: Notes of a Native Son	220
	1956: The Brown Wasps	239
	1957: A Sweet Devouring	246
	1961: A Hundred Thousand Straightened Nails	252
	1963: Letter from Birmingham Jail	263
	1964: Putting Daddy On	280
	1964: Notes on \"Camp\"	288
	1966: Perfect Past	303
	1967: The Way to Rainy Mountain	313
	1968: The Apotheosis of Martin Luther King	319
	1969: Illumination Rounds	327
	1970: I Know Why the Caged Bird Sings	342
	1971: The Lives of a Cell	358
	1972: The Search for Marvin Gardens	361
	1972: The Doomed in Their Sinking	373
	1975: No Name Woman	383
	1975: Looking for Zora	395
	1977: Women and Honor: Some Notes on Lying	412
	1979: The White Album	421
	1980: Aria: A Memoir of a Bilingual Childhood	447
	1981: The Solace of Open Spaces	467
	1982: Total Eclipse	477
	1982: A Drugstore in Winter	490
	1987: Okinawa: The Bloodiest Battle of All	497
	1988: Heaven and Nature	507
	1989: The Creation Myths of Cooperstown	520
	1990: Life with Daughters: Watching the Miss America Pageant	532
	1993: The Disposable Rocket	549
	1995: They All Just Went Away	553
	1997: Graven Images	564
	Biographical Notes	569
Appendix	Notable Twentieth-Century American Literary Nonfiction	591

", "movies.editorial_reviews": "

From Barnes & Noble

Bookseller Reviews \n

These essays educate us, amuse us, startle us with their immediacy. Who among us can read Henry Adam's \"A Law of Acceleration,\" penned in 1904, and not think of our mind-zapping digital age? Who could resist the first sentence of Zora Neale Hurston's piece:I am colored but I offer nothing in the way of extenuating circumstances except the fact that I am the only Negro in the United States whose grandfather on the mother's side was not an Indian chief.\" And which of you could disagree with the unrepeatable wisdom of Gertrude Stein's \"The tradition has always been that you may more or less describe the things that happen nowadays everybody all day long knows what is happening and so what is happening is not really interesting.\"

The essays that Joyce Carol Oates has selected linger with us, not because their authors (from Mark Twain to Martin Luther King), retain their fame, but because each piece is a talisman, irreducible and well-carved. James Age's prose-poems \"Knoxville, Summer of 1915\" appeals to us today just as it inspired composer Samuel Barber decades ago, and two thirds of a century have only enhanced the thrall of the languorous rhythms of Edmund Wilson's \"The Old Stone House.\" H.L. Mencken's article on the 1925 Scopes trial shames this week's pale convention prose with its freshness, and T.S. Eliot's 1919 \"Tradition and The Individual Talent\" still has something to teach us.

\n\n\n

\n\n

Publishers Weekly\n - Publisher's Weekly\n

\"Here is a history of America told in many voices,\" declares Oates in her introduction, revealing the heart of her intelligent and incisive collection of 55 essays by American writers. Never attempting to capture or replicate a single, authentic \"American identity,\" this collection succeeds by producing a comprehensive and multifaceted look at what America has been and, by extension, what it is and might become. While it's not explicitly political, the volume's multicultural intentions are visible. Beginning with \"Cone-pone Opinions,\" a 1901 Mark Twain essay that uses the wisdom of an African-American child as its central image, Oates has fashioned a collection that calls attention to the way that \"America\" is made up of competing, and often antagonistic, cultural and social visions. There is not only the apparent contrast between the populist, overtly political visions of W.E.B. Du Bois's \"Of the Coming of John,\" James Baldwin's \"Notes of a Native Son\" and Mary McCarthy's \"Artists in Uniform\" and the cultural elitism of T.S. Eliot's \"Tradition and the Individual Talent.\" Oates has managed to find numerous pieces whose vision and philosophy resonate with one another without becoming homogeneous, so Gretel Ehrlich's meditation on pastoral aesthetics in \"The Solace of Open Spaces\" contrasts abruptly and ingeniously with Susan Sontag's urban-centered \"Notes on Camp.\" In all, Oates has assembled a provocative collection of masterpieces reflecting both the fragmentation and surprising cohesiveness of various American identities. QPB and History Book Club selections; BOMC alternate. Sept. Copyright 2000 Cahners Business Information.\n\n

From The Critics

\". . . Oates has assembled a provocative collection of masterpieces
\nreflecting both the fragmentation and surprising cohesiveness of
\nvarious American identities.\"\n\n

\n\n

KLIATT

In her excellent introduction to this collection, Joyce Carol Oates states her belief that \"art should not be comforting.\" It should, instead, \"provoke, disturb,...and expand our sympathies in directions we may not anticipate and may not even wish.\" The reader should therefore be prepared to have these 55 carefully selected essays do just that. Arranged chronologically, the essays span the century with an average of five essays per decade. From Mark Twain to Saul Bellow by way of William James, T.S. Eliot, Robert Frost and Gertrude Stein, the collection notes literary trends as well as social upheavals as recorded in essays of W.E.B DuBois, Langston Hughes, Zora Neale Hurston and Richard Wright. Chosen from authors who had published at least one book of nonfiction or essays, this collection attempts to present a \"mobile mosaic\" of 20th-century America. Category: Collections. KLIATT Codes: SA—Recommended for senior high school students, advanced students, and adults. 2001, Houghton Mifflin, 624p., Ages 16 to adult. Reviewer: Patricia A. Moore; Brookline, MA\n\n

\n\n

Library Journal

One of the pleasures of an anthology like this is reading people you might not otherwise have picked up. Like John Muir, whose \"Stickeen,\" a life-and-death adventure on an Alaskan glacier with a singular small black dog, is a great piece of adventure writing. Or Jane Addams, whose insights into the spread of an urban legend of \"The Devil Baby at Hull House\" are thoughtful and compassionate. Another sort of pleasure comes from rereading familiar works in a new context: E.B. White's \"Once More to the Lake,\" N. Scott Momaday's \"The Way to Rainy Mountain,\" John McPhee's \"The Search for Marvin Gardens,\" and Annie Dillard's \"Total Eclipse.\" Only seven of the essays come from the annual \"Best American Essays\" series that Atwan has coedited since 1986. The other 48 were culled from the rest of the century, with the ruling idea, Atwan says, \"that the essays should speak to the present, not merely represent the past.\" Oates looked \"for the expression of personal experience within the historical.\" They have created a mosaic of a century in an America whose dominant and recurring theme has been race. Essential for most libraries.--Mary Paumier Jones, Westminster P.L., CO Copyright 2000 Cahners Business Information.\\\n\n

\n\n

Megan Harlan

...all the essays transcend fashion and speak just as eloquestly to us today as they did when they were first published.
\n—Entertainment Weekly\n\n

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More than 1,500,000 copies in print! Over 575 traditional favorites to be read and reread. Categorized by theme, and indexed by author and first line, this is a collection that will be treasured.

", "movies.authors": "Wayne Franklin (Editor), Jerome Klinkowitz (Editor), Arnold Krupat (Editor), Philip F. Gura (Editor), Bruce Michelson", "movies.title_slug": "the-norton-anthology-of-american-literature", "movies.author_slug": "wayne-franklin", "movies.isbn13": 9780393927399, "movies.isbn10": 393927393, "movies.price": "$37.77", "movies.format": "Paperback", "movies.publisher": "Norton, W. W. & Company, Inc.", "movies.pubdate": "April 2007", "movies.edition": "7th Edition", "movies.subjects": "American Literature Anthologies", "movies.lexile": "", "movies.pages": 972, "movies.dimensions": "6.00 (w) x 9.20 (h) x 1.10 (d)", "movies.overview": "

Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field, The Norton Anthology of American Literature has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.

Under Nina Baym’s direction, the editors have considered afresh each selection and all the apparatus to make the anthology an even better teaching tool.

", "movies.excerpt": "", "movies.synopsis": "

Margaret Ferguson (Ph.D. Yale University) is Professor of English and Comparative Literature at the University of California—Davis. She is author of Dido’s Daughters: Literacy, Gender, and Empire in Early Modern England and France (2003) and Trials of Desire: Renaissance Defenses of Poetry (1984). She is coeditor of Feminism in Time, Women, Property, and the Letters of the Law, Literacies in Early Modern England and a critical edition of Elizabeth Cary’s Tragedy of Mariam.

Mary Jo Salter (M.A. Cambridge University) is Emily Dickinson Senior Lecturer in the Humanities at Mount Holyoke College, where she teaches poetry and poetry-writing. She has published several books of poems, including Henry Purcell in Japan (1985), Unfinished Painting (1989), Sunday Skaters (1994), A Kiss in Space (1999), and, most recently, Open Shutters (2003). A vice president of the Poetry Society of America, she has also served as poetry editor of The New Republic.

Jon Stallworthy (M.A. and B.Litt. Oxford) is Senior Research Fellow at Wolfson College of Oxford University, where he is also Professor of English Literature. He is also the former John Wendell Anderson Professor at Cornell, where he taught after a career at Oxford University Press. His biography of Wilfred Owen won the Duff Cooper Memorial Prize, the W. H. Smith Literary Award, and the E. M. Forster Award of the American Academy of Arts and Letters. His biography of Louis MacNeice won the Southern Arts Literary Prize. He is also the author of Rounding the Horn: Collected Poems and Singing School: The Making of a Poet and he is the editor of the definitive edition of Wilfred Owen’s poetry, The Complete Poems and Fragments; The Penguin Book of Love Poetry; and The Oxford Book of War Poetry. Stallworthy has received a Guggenheim Fellowship and is a fellow of the British Academy and the Royal Society of Literature.

", "movies.authors": "Margaret Ferguson, Jon Stallworthy, Mary Jo Salter, Jon Stallworthy (Editor), Mary Jo Salter", "movies.title_slug": "the-norton-anthology-of-poetry", "movies.author_slug": "margaret-ferguson", "movies.isbn13": 9780393979206, "movies.isbn10": 393979202, "movies.price": "$66.30", "movies.format": "Paperback", "movies.publisher": "Norton, W. W. & Company, Inc.", "movies.pubdate": "December 2004", "movies.edition": "5th Edition", "movies.subjects": "Poetry Anthologies, American Poetry, English Poetry, English & Irish Literature Anthologies, American Literature Anthologies", "movies.lexile": "", "movies.pages": 2256, "movies.dimensions": "6.00 (w) x 9.20 (h) x 2.00 (d)", "movies.overview": "

Offering over one thousand years of verse from the medieval period to the present, The Norton Anthology of Poetry is the classroom standard for the study of poetry in English.

The Fifth Edition retains the flexibility and breadth of selection that has defined this classic anthology, while improved and expanded editorial apparatus make it an even more useful teaching tool.

", "movies.excerpt": "", "movies.synopsis": "

Offering over one thousand years of verse from the medieval period to the present, The Norton Anthology of Poetry is the classroom standard for the study of poetry in English.

Henry Louis Gates Jr. (Ph.D. Cambridge) is Alphonse Fletcher University Professor and Director, W. E. B. Du Bois Institute for African and African American Research, at Harvard University. He is the author of Figures in Black: Words, Signs, and the Racial Self; The Signifying Monkey: A Theory of Afro-American Criticism; Loose Canons: Notes on the Culture Wars; Colored People: A Memoir; The Future of Race (with Cornel West); Wonders of the African World; Thirteen Ways of Looking at a Black Man; and America Behind the Color Line: Dialogues with African Americans. He is general editor (with the late Nellie Y. McKay) of The Norton Anthology of African American Literature; editor-in-chief of the Oxford African American Studies Center (online); editor of The African-American Century (with Cornel West); Encarta Africana (with Kwame Anthony Appiah); and The Bondwoman’s Narrative by Hannah Craft; African American National Biography (with Evelyn Brooks Higginbotham) and The Annotated Uncle Tom’s Cabin (with Hollis Robbins). For PBS, Professor Gates has written and produced several documentaries, among them African American Lives, series 1 and 2, and America Behind the Color Line.

Nellie Y. McKay (Ph.D. Harvard), General Editor. Professor of American and Afro-American Literature, University of Wisconsin, Madison. Associate editor of the African American Review; author of Jean Toomer—the Artist: A Study of His Literary Life and Work, 1894-1936; editor of Critical Essays on Toni Morrison; co-editor of the Norton Critical Edition of Harriet Jacobs’s Incidents in the Life of a Slave Girl, Beloved—A Casebook, and Approaches to Teaching the Novels of Toni Morrison.

William L. Andrews (Ph.D. University of North Carolina, Chapel Hill), Editor, \"The Literature of Slavery and Freedom,\" Co-Editor, \"the Literature of the Reconstruction to the New Negro Renaissance.\" E. Maynard Adams Professor of English, University of North Carolina, Chapel Hill. General editor of the Wisconsin Studies in American Autobiography series and The Literature of the American South: A Norton Anthology, and co-editor of The Oxford Companion to African American Literature. Other works include The Literary Career of Charles W. Chesnutt; To Tell a Free Story: The First Century of Afro-American Autobiography, 1760–1865; Sisters of the Spirit; Critical Essays on Frederick Douglass; and Classic Fiction of the Harlem Renaissance.

Houston A. Baker, Jr. (Ph.D. University of California, Los Angeles), Editor, \"The Black Arts Era.\" George D. and Susan Fox Beischer Professor of English, Duke University. Editor of American Literature; Editor of the anthology Black Literature in America and author of three books of poetry. Other works include Afro-American Poetics: Revisions of Harlem and The Black Aesthetic; Workings of the Spirit: A Poetics of Afro-American Women’s Writing; Black Studies, Rap, and the Academy; Blues, Ideology, and Afro-American Literature: A Vernacular Theory; Modernism and the Harlem Renaissance; Turning South Again: Re-Thinking Modernism/Re-Reading Booker T.

Frances Smith Foster (Ph.D. University of California, San Diego), Co-Editor, \"The Literature of the Reconstruction to the New Negro Renaissance.\" Charles Howard Candler Professor of English and Women’s Studies, Emory University. Author of Written by Herself: Literary Production by African American Women, 1746-1892 and Witnessing Slavery: The Development of the Antebellum Slave Narrative. Co-editor of the Oxford Companion to African American Literature and the Norton Critical Edition of Harriet Jacobs’s Incidents in the Life of a Slave Girl. Editor of several works, including Minnie’s Sacrifice, Sowing and Reaping, Trial and Triumph: Three Rediscovered Novels by Frances Ellen Watkins Harper, and Elizabeth Keckley’s Behind the Scenes.

A former fellow of the Bunting Institute and the Woodrow Wilson International Center, Deborah E. McDowell is a professor of English at the University of Virginia.

Robert G. O’Meally (Ph.D. Harvard), Editor, \"The Vernacular Tradition.\" Zora Neale Hurston Professor of English, Columbia University. Author of The Craft of Ralph Ellison and the biography Lady Day: The Many Faces of Billie Holiday, and editor of the essay collection History and Memory in African American Culture. Currently editing an essay collection titled The Jazz Cadence of American Culture.

Arnold Rampersad (Ph.D. Harvard), Editor, \"The Harlem Renaissance.\" Sara Hart Kimball Professor in the Humanities, Stanford University. Co-Editor of Slavery and the Literary Imagination (with Deborah E. McDowell); editor of the definitive Collected Poems of Langston Hughes and author of the two-volume biography The Life of Langston Hughes. Also author of Jackie Robinson: A Biography and joint author of tennis star Arthur Ashe’s Days of Grace: A Memoir.

Hortense Spillers (Ph.D. Brandeis), Co-Editor, \"Realism, Naturalism, Modernism.\" Frederick J. Whiton Chair of English, Cornell University. Editor of Comparative American Identities: Race, Sex, and Nationality in the Modern Text; co-editor (with Marjorie Pryse) of Conjuring: Black Women, Fiction and the Literary Tradition, and an editor of The Heath Anthology of American Literature.

Cheryl A. Wall (Ph.D. Harvard), Editor, \"Literature since 1975.\" Professor and Chair of English, Rutgers University. Author of Women of the Harlem Renaissance; editor of Zora Neale Hurston: Novels and Stories, Zora Neale Hurston: Folklore, Memoirs & Other Writings, and Changing Our Own Words: Essays on Criticism, Theory, and Writing by Black Women.

", "movies.authors": "Henry Louis Gates Jr. (Editor), Nellie Y. McKay", "movies.title_slug": "the-norton-anthology-of-african-american-literature", "movies.author_slug": "henry-louis-gates-jr", "movies.isbn13": 9780393977783, "movies.isbn10": 393977781, "movies.price": "$72.82", "movies.format": "Paperback", "movies.publisher": "Norton, W. W. & Company, Inc.", "movies.pubdate": "December 2003", "movies.edition": "2nd Edition", "movies.subjects": "Peoples & Cultures - American Anthologies", "movies.lexile": "", "movies.pages": 2832, "movies.dimensions": "6.00 (w) x 9.30 (h) x 2.30 (d)", "movies.overview": "

Welcomed on publication as \"brilliant, definitive, and a joy to teach from,\" The Norton Anthology of African American Literature was adopted at more than 1,275 colleges and universities worldwide. Now, the new Second Edition offers these highlights.

", "movies.excerpt": "", "movies.synopsis": "

Welcomed on publication as \"brilliant, definitive, and a joy to teach from,\" The Norton Anthology of African American Literature was adopted at more than 1,275 colleges and universities worldwide. Now, the new Second Edition offers these highlights.

Publishers Weekly

Collaborating on The Norton Anthology of African American Literature, editors Henry Louis Gates Jr. and Nellie Y. McKay have compiled what may be the definitive collection of its kind. Organized chronologically, the massive work gathers writings from six periods of black history: slavery and freedom; Reconstruction; the Harlem Renaissance; Realism, Naturalism and Modernism; the Black Arts Movement and the period since the 1970s. The work begins with the vernacular tradition of spirituals, gospel and the blues; continues through work songs, jazz and rap; ranges through sermons and folktales; and embraces letters and journals, poetry, short fiction, novels, autobiography and drama. BOMC selection; companion audio CD.

", "movies.toc": "", "movies.editorial_reviews": "

Publishers Weekly\n - Publisher's Weekly\n

\n\n

Library Journal

In this anthology, blues, gospel, jazz, rap, and sermons take center stage. In close proximity are poetry, fiction, drama, and autobiography by major authors like Richard Wright, Gwendolyn Brooks, and Toni Morrison.\n\n

HELEN VENDLER, critic and scholar of English-language poetry from the seventeenth century to the present, is A. Kingsley Porter University Professor at Harvard University-the first woman to hold a University Professorship, the highest academic distinction Harvard bestows. She has been poetry critic of The New Yorker since 1978, and has been a member of the Pulitzer Prize jury for poetry. Author of ground-breaking scholarly studies on George Herbert, John Keats, Wallace Stevens, William Butler Yeats, Shakespeare's sonnets, and Seamus Heaney, she won the National Book Critic's Circle Award for Criticism in 1981, and her criticism has been collected in several volumes, including Part of Nature, Part of Us, The Music of What Happens, and Soul Says.

", "movies.authors": "Helen Vendler", "movies.title_slug": "poems-poets-poetry", "movies.author_slug": "helen-vendler", "movies.isbn13": 9780312463199, "movies.isbn10": 312463197, "movies.price": "$1.99", "movies.format": "Paperback", "movies.publisher": "Bedford/St. Martin's", "movies.pubdate": "October 2009", "movies.edition": "3rd Edition", "movies.subjects": "Poetry Anthologies, American Poetry, English Poetry, English & Irish Literature Anthologies, American Literature Anthologies", "movies.lexile": "", "movies.pages": 752, "movies.dimensions": "5.90 (w) x 9.00 (h) x 1.00 (d)", "movies.overview": "
\nMany students today are puzzled by the meaning and purpose of poetry. Poems, Poets, Poetry demystifies the form and introduces students to its artistry and pleasures, using methods that Helen Vendler has successfully used herself over her long, celebrated career. Guided by Vendler’s erudite yet down-to-earth approach, students at all levels can benefit from her authoritative instruction. Her blend of new and canonical poets includes the broadest selection of new and multi-racial poets offered by any introductory text. Comprehensive and astute, this text engages students in effective ways of reading — and taking delight in — poetry.", "movies.excerpt": "", "movies.synopsis": "

Written by a preeminent critic and legendary teacher, this text and anthology presents the incisive, practical methods of reading and writing that Helen Vendler has used for decades to demystify poetry for her students and introduce them to its artistry and pleasures.

", "movies.toc": "

Preface: About This Book

Brief Contents

Contents

Chronological Contents

About Poets and Poetry

PART I. AN INTRODUCTION TO POETRY

1. The Poem as Life

The Private Life

William Blake, Infant Sorrow

Louise Glück, The School Children

E. E. Cummings, in Just-

NEW Robert Hayden, Those Winter Sundays

Walt Whitman, Hours Continuing Long

Wallace Stevens, The Plain Sense of Things

The Public Life

Michael Harper, American History

Charles Simic, Old Couple

Robert Lowell, Skunk Hour

Nature and Time

Anonymous, The Cuckoo Song

Dave Smith, The Spring Poem

John Keats, The Human Seasons

William Shakespeare, Sonnet 60 (Like as the waves make towards the pebbled shore)

In Brief: The Poem as Life

Reading Other Poems

Sir Thomas Wyatt, They Flee from Me

Ben Jonson, On My First Son

John Milton, On the Late Massacre in Piedmont

John Keats, When I Have Fears

Emily Dickinson, A narrow Fellow in the grass

Langston Hughes, Theme for English B

Dylan Thomas, Do Not Go Gentle into That Good Night

Sylvia Plath, Daddy

Rita Dove, Flash Cards

Yusef Komunyakaa, Facing It

Julia Alvarez, Homecoming

2. The Poem as Arranged Life

The Private Life

William Blake, Infant Joy

William Blake, Infant Sorrow

Louise Glück, The School Children

E. E. Cummings, in Just-

Robert Hayden, Those Winter Sundays

Walt Whitman, Hours Continuing Long

Wallace Stevens, The Plain Sense of Things

The Public Life

Michael S. Harper, American History

Charles Simic, Old Couple

Robert Lowell, Skunk Hour

Nature and Time

Anonymous, The Cuckoo Song

Dave Smith, The Spring Poem

John Keats, The Human Seasons

William Shakespeare, Sonnet 60 (Like as the waves make towards the pebbled shore)

In Brief: The Poem as Arranged Life

Reading Other Poems

Anonymous, Lord Randal

William Shakespeare, Sonnet 29 (When in disgrace with fortune and men's eyes)

Chidiock Tichborne, Tichborne's Elegy

John Donne, A Valediction: Forbidding Mourning

Robert Herrick, Upon Julia's Clothes

George Herbert, Love (III)

Walt Whitman, A Noiseless Patient Spider

Thomas Hardy, The Convergence of the Twain

Robert Frost, The Road Not Taken

Margaret Atwood, Footnote to the Amnesty Report on Torture

Marilyn Nelson, Live Jazz, Franklin Park Zoo

3. Poems as Pleasure

Rhythm

Rhyme

Ben Jonson, On Gut

Structure

William Carlos Williams, Poem

Gwendolyn Brooks, We Real Cool

Images

William Blake, London

Argument

Christopher Marlowe, The Passionate Shepherd to His Love

Walter Ralegh, The Nymph's Reply to the Shepherd

Poignancy

William Wordsworth, A Slumber Did My Spirit Seal

Wisdom

A New Language

Finding Yourself

In Brief: Poems as Pleasure

Reading Other Poems

William Shakespeare, Sonnet 130 (My mistress' eyes are nothing like the sun)

Robert Herrick, To the Virgins, to Make Much of Time

William Blake, The Sick Rose

Gerard Manley Hopkins, Pied Beauty

Thomas Hardy, The Darkling Thrush

Robert Frost, After Apple-Picking

Robert Frost, Unharvested

D.H. Lawrence, Snake

William Carlos Williams, The Dance

Theodore Roethke, My Papa's Waltz

Derek Walcott, The Season of Phantasmal Peace

Elizabeth Alexander, Nineteen

4. Describing Poems

Poetic Kinds

Narrative versus Lyric; Narrative as Lyric

Adrienne Rich, Necessities of Life

Philip Larkin, Talking in Bed

Classifying Lyric Poems

Content genres

Emily Dickinson, The Heart asks Pleasure--first--

Speech Acts

Carl Sandburg, Grass

Outer Form

Line Width

Rhythm

Poem Length

Combinatorial Form Names

Inner Structural Form

Sentences

Robert Herrick, The Argument of His Book

Person

Agency

Randall Jarrell, The Death of the Ball Turret Gunner

Tenses

William Wordsworth, A Slumber Did My Spirit Seal

Images, or Sensuous Words

Sylvia Plath, Metaphors

Exploring a Poem

John Keats, Upon First Looking into Chapman's Homer

In Brief: Describing Poems

Reading Other Poems

William Shakespeare, Sonnet 129 (Th' expense of spirit in a waste of shame)

George Herbert, Easter Wings

Andrew Marvell, The Garden

John Milton, When I Consider How My Light is Spent

Anne Bradstreet, To My Dear and Loving Husband

John Keats, Ode to a Nightingale

Matthew Arnold, Dover Beach

Robert Frost, Mending Wall

Ezra Pound, The River Merchant's Wife: A Letter

Mark Strand, Courtship

Seamus Heaney, From the Frontier of Writing

Jorie Graham, San Sepolcro

Sherman Alexie, Evolution

5. The Play of Language

Sound Units

Word Roots

Words

Sentences

Robert Frost, Stopping by Woods on a Snowy Evening

Emily Dickinson, The Heart asks Pleasure--first--

Implication

The Ordering of Language

George Herbert, Prayer (I)

William Shakespeare, Sonnet 66 (Tired with all these, for restful death I cry)

Michael Drayton, Since there's no help

In Brief: The Play of Language

Reading Other Poems

John Donne, Holy Sonnet 14 (Batter my heart, three-personed God; for You)

John Keats, To Autumn

Robert Browning, My Last Duchess

Henry Reed, Naming of Parts

William Butler Yeats, The Wild Swans at Coole

Wallace Stevens, The Emperor of Ice-Cream

H.D., Oread

E.E. Cummings, r-p-o-p-h-e-s-s-a-g-r

Elizabeth Bishop, One Art

Joy Harjo, Song for Deer and Myself to Return On

Lorna Dee Cervantes, Poema para los Californios Muertos

6. Constructing a Self

Multiple Aspects

William Shakespeare, Sonnet 30 (When to the sessions of sweet silent thought)

Change of Discourse

Space and Time

Seamus Heaney, Mid-Term Break

Testimony

Motivations

Typicality

Tone as a Marker of Selfhood

Gerard Manley Hopkins, Spring and Fall

Imagination

Emily Dickinson, I heard a Fly buzz--when I died--

Persona

William Butler Yeats, Crazy Jane Talks with the Bishop

In Brief: Constructing a Self

Reading Other Poems

John Dryden, Sylvia the Fair

Walt Whitman, I Saw in Louisiana a Live-Oak Growing

Emily Dickinson, I'm Nobody! Who are you?

William Butler Yeats, An Irish Airman Foresees His Death

Thomas Hardy, The Ruined Maid

T. S. Eliot, The Love Song of J. Alfred Prufrock

William Carlos Williams, To Elsie

Countee Cullen, Heritage

Anne Sexton, Her Kind

Charles Wright, Self-Portrait

Jane Kenyon, Otherwise

Carl Phillips, Africa Says

7. Poetry and Social Identity

Adrienne Rich, Mother-in-Law

Adrienne Rich, Prospective Immigrants Please Note

Langston Hughes, Genius Child

Langston Hughes, Me and the Mule

Langston Hughes, High to Low

Seamus Heaney, Terminus

In Brief: Poetry and Social Identity

Reading Other Poems

Robert Southwell, The Burning Babe

Thomas Nashe, A Litany in Time of Plague

Anne Bradstreet, A Letter to Her Husband Absent Upon Public Employment

William Blake, The Little Black Boy

Edward Lear, How Pleasant to Know Mr. Lear

Gerard Manley Hopkins, Felix Randal

Sylvia Plath, The Applicant

David Mura, An Argument: On 1942

Rita Dove, Wingfoot Lake

Sheila Ortiz Taylor, The Way Back

8. History and Regionality

History

William Wordsworth, A slumber did my spirit seal

Robert Lowell, The March 1

Langston Hughes, World War II

Wilfred Owen, Dulce et Decorum Est

Regionality

Sherman Alexie, On the Amtrak from Boston to New York City

William Wordsworth, Composed upon Westminster Bridge, September 3, 1802

In Brief: History and Regionality

Reading Other Poems

Samuel Taylor Coleridge, Kubla Khan

William Wordsworth, Lines Composed a Few Miles above Tintern Abbey

John Keats, Ode on a Grecian Urn

William Butler Yeats, Easter 1916

Wallace Stevens, Anecdote of the Jar

Robert Lowell, For the Union Dead

Robert Hayden, Night, Death, Mississippi

W.S. Merwin, The Asians Dying

Derek Walcott, The Gulf

Simon J. Ortiz, Bend in the River

Jorie Graham, What the End Is For

Gary Soto, History

Silvia Curbelo, Balsero Singing

Dionisio Martinez, History as a Second Language

9. Attitudes, Values, Judgments

William Shakespeare, Sonnet 76 (Why is my verse so barren of new pride?)

Robert Lowell, Epilogue

In Brief: Attitudes, Values, Judgments

Reading Other Poems

John Milton, Lycidas

Ben Jonson, Still to Be Neat

Richard Lovelace, To Lucasta, Going to the Wars

Phillis Wheatley, On Being Brought from Africa to America

Elizabeth Barrett Browning, How Do I Love Thee?

Walt Whitman, When I Heard the Learn'd Astronomer

William Butler Yeats, Meru

Robert Frost, The Gift Outright

Allen Ginsberg, Sunflower Sutra

Louise Glück, Mock Orange

Rita Dove, Parsley

Heidy Steidlmayer, Knife-Sharpener’s Song

New 10. Poets on Poetry

Poetry as Imagination

Art’s Fiction, Truth’s Claims

Poetry as Song

Poetry as Words

Poetry as an Evolving Structure

Poetry as a Destructive Force

The Idea of Lyric

Why Poetry at All?

Emily Dickinson, This is my letter to the World

Poetry Over Time

The Poet’s Audience

Poetry and Style

PART II. WRITING ABOUT POETRY

11. Writing about Poems

Basic Principles

A Brief Example

Robert Herrick, Divination by a Daffodil

A Longer Example:

William Wordsworth, I Wandered Lonely as a Cloud

Getting it Down on Paper

Begin with a Question

Present Your Case

Draw Your Conclusions

Keeping Your Readers in Mind

A Note on Writing about Unrhymed Poems

Organizing Your Paper

A Note on Well-Ordered Paragraphs

Checking Your Work

12. Studying Groups of Poems

Walt Whitman: Poems on Lincoln

Walt Whitman, Hush'd Be the Camps To-Day

Walt Whitman, O Captain! My Captain!

Walt Whitman, When Lilacs Last in the Dooryard Bloom'd

Walt Whitman, This dust was once a man

Emily Dickinson: Poems on Time

Emily Dickinson, I like to see it lap the Miles—

Emily Dickinson, Because I could not stop for Death—

Emily Dickinson, The Heart asks Pleasure—first—

Emily Dickinson, I felt a Cleaving in my Mind

Emily Dickinson, The first Day's Night had come—

Emily Dickinson, After great pain, a formal feeling comes

Emily Dickinson, There's a certain Slant of light

Emily Dickinson, Pain-expands the Time

Writing Your Paper

PART III. ANTHOLOGY

Sherman Alexie, Reservation Love Song

Paula Gunn Allen, Zen Americana

New Julia Alvarez, from 33

A. R. Ammons, The City Limits

A. R. Ammons, Easter Morning

Anonymous, Sir Patrick Spens

Anonymous, Western Wind

Matthew Arnold, Shakespeare

Matthew Arnold, To Marguerite

John Ashbery, Paradoxes and Oxymorons

John Ashbery, Street Musicians

New Margaret Atwood, Habitation

Margaret Atwood, This is a Photograph of Me

Margaret Atwood, Up

W. H. Auden, As I Walked Out One Evening

W.H. Auden, Musée des Beaux Arts

John Berryman, from Dream Songs

4 (Filling her compact & delicious body)

45 (He stared at ruin. Ruin stared straight back)

384 (The marker slants, flowerless, day's almost done)

New Frank Bidart, An American in Hollywood

New Frank Bidart, If See No End In Is

Frank Bidart, To My Father

Elizabeth Bishop, At the Fishhouses

Elizabeth Bishop, Poem

Elizabeth Bishop, Sestina

William Blake, Ah! Sun-flower

William Blake, The Garden of Love

William Blake, The Lamb

New William Blake, The Mental Traveller

William Blake, The Tyger

Richard Blanco, Letters for Mamá

Michael Blumenthal, A Marriage

New Michael Blumenthal, Early Childhood Education

Anne Bradstreet, Before the Birth of One of Her Children

Lucy Brock-Broido, Carrowmore

Lucy Brock-Broido, Domestic Mysticism

New Lucy Brock-Broido, Self-Deliverance by Lion

Emily Bronte, No Coward Soul Is Mine

Emily Bronte, Remembrance

Gwendolyn Brooks, The Bean Eaters

New Gwendolyn Brooks, Beverly Hills, Chicago

Elizabeth Barrett Browning, A Musical Instrument

Robert Browning, Childe Roland to the Dark Tower Came

Robert Burns, O, Wert Thou in the Cauld Blast

Robert Burns, A Red, Red Rose

George Gordon, Lord Byron, When We Two Parted

Lorna Dee Cervantes, Freeway 280

Marilyn Chin, Autumn Leaves

New Victoria Chang, $4.99 All You Can Eat Sunday Brunch

John Clare, Badger

John Clare, First Love

John Clare, I Am

New Lucille Clifton, the lost baby poem

New Henry Cole, Car Wash

Henri Cole, 40 Days and 40 Nights

Samuel Taylor Coleridge, Dejection: An Ode

Samuel Taylor Coleridge, The Rime of the Ancient Mariner

New Eduardo C. Corral, Monologue of a Vulture’s Shadow

William Cowper, The Castaway

William Cowper, Epitaph on a Hare

Hart Crane, The Broken Tower

Hart Crane, To Brooklyn Bridge

New Robert Creeley, When I think

Countee Cullen, Incident

E.E. Cummings, may I feel he said he

New E.E. Cummings, next to of course god america i

Emily Dickinson, The Brain--is wider than the Sky--

Emily Dickinson, I like a look of Agony

Emily Dickinson, Much Madness is divinest Sense--

Emily Dickinson, Safe in their Alabaster Chambers (1859)

Emily Dickinson, Safe in their Alabaster Chambers (1861)

Emily Dickinson, The Soul selects her own Society—

Emily Dickinson, There's a certain Slant of light

Emily Dickinson, Wild Nights--Wild Nights!

New John Donne, Breake of day

John Donne, Death, be not proud

John Donne, The Sun Rising

New Timothy Donnelly, Reading of Medieval Life, I Wonder Who I Am

Rita Dove, Adolescence--II

Rita Dove, Dusting

Paul Laurence Dunbar, Harriet Beecher Stowe

Paul Laurence Dunbar, Robert Gould Shaw

Paul Laurence Dunbar, We Wear the Mask

New Roberto Durán, Protest

T. S. Eliot, Preludes

Thomas Sayers Ellis, View of the Library of Congress from Paul Laurence Dunbar High School

Ralph Waldo Emerson, Concord Hymn

Louise Erdrich, The Strange People

New Rhina Espaillat, Translation

New Gustavo Pérez Firmat, Turning the Times Tables

New Mark Ford, The Long Man

Robert Frost, Birches

Robert Frost, Design

Allen Ginsberg, America

Louise Glück, All Hallows

Louise Glück, The Balcony

New Louise Glück, Midsummer

New Albert Goldbarth, The Novel That Asks to Erase Itself

New Albert Goldbarth, Unforeseeables

Jorie Graham, Of Forced Sightes and Trusty Ferefulness

Jorie Graham, Soul Says

New Jorie Graham, The Strangers

Thomas Gray, Elegy Written in a Country Churchyard

Thom Gunn, The Man with Night Sweats

Thom Gunn, My Sad Captains

H.D., Helen

Thomas Hardy, Afterwards

Michael S. Harper, Nightmare Begins Responsibility

Michael S. Harper, We Assume: On the Death of Our Son, Reuben Masai Harper

Robert Hayden, Frederick Douglass

Robert Hayden, Mourning Poem for the Queen of Sunday

New Terrance Hayes, WOOFER (When I Consider the African-American)

New Terrance Hayes, A Small Novel

Seamus Heaney, Bogland

Seamus Heaney, Punishment

George Herbert, The Collar

George Herbert, Redemption

Robert Herrick, Corinna's Going A-Maying

Gerard Manley Hopkins, God's Grandeur

Gerard Manley Hopkins, No worst, there is none. Pitched past pitch of grief

New John Hollander, By Nature

A.E. Housman, Loveliest of Trees, the Cherry Now

A.E. Housman, With Rue My Heart Is Laden

New Langston Hughes, Dream Variation

Langston Hughes, Harlem

Langston Hughes, I, Too

Langston Hughes, The Weary Blues

Ben Jonson, Come, My Celia

New Laura Kasischke, Miss Consolation for Emotional Damages

John Keats, In drear nighted December

John Keats, La Belle Dame Sans Merci

John Keats, On Sitting Down to Read King Lear Once Again

John Keats, This Living Hand

New Jane Kenyon, Back

New Jane Kenyon, Otherwise

Jane Kenyon, Surprise

Etheridge Knight, A Poem for Myself (Or Blues for a Mississippi Black Boy)

Kenneth Koch, Variations on a Theme by William Carlos Williams

Yusef Komunyakaa, Boat People

Yusef Komunyakaa, My Father's Loveletters

New Yusef Komunyakaa, The Towers

Stanley Kunitz, The Portrait

Philip Larkin, High Windows

Philip Larkin, Reasons for Attendance

Philip Larkin, This Be the Verse

D.H. Lawrence, The English Are So Nice!

New Inada Lawson, XI. Japs

New Li-Young Lee, Mother Deluxe

Denise Levertov, The Ache of Marriage

Harold Littlebird, White-Washing the Walls

Henry Wadsworth Longfellow, Aftermath

Henry Wadsworth Longfellow, The Jewish Cemetery at Newport

Audre Lorde, Hanging Fire

Robert Lowell, Sailing Home from Rapallo

Archibald MacLeish, Ars Poetica

New Victor Martínez, The Ledger

New Andrew Marvell, The Definition of Love

Andrew Marvell, The Mower’s Song

Andrew Marvell, The Mower to the Glowworms

Andrew Marvell, To His Coy Mistress

New Shara McCallum, The Incident

Herman Melville, The Berg

Herman Melville, Monody

New James Merrill, The Christmas Tree

W.S. Merwin, For a Coming Extinction

W.S. Merwin, For the Anniversary of My Death

John Milton, L'Allegro

John Milton, Methought I Saw My Late Espousèd Saint

John Milton, On Shakespeare

New Marianne Moore, A Grave

New Marianne Moore, England

Marianne Moore, Poetry

Marianne Moore, The Steeple-Jack

Pat Mora, La Migra

New Pat Mora, Rituals

New Thylias Moss, One for All Newborns

New Harryette Mullen, Omnivore

Frank O'Hara, Ave Maria

Frank O'Hara, Why I Am Not a Painter

Wilfred Owen, Anthem for Doomed Youth

Wilfred Owen, Disabled

New Grace Paley, from Detour

New Carl Phillips, Blue

Carl Phillips, The Kill

Carl Phillips, Passing

Sylvia Plath, Edge

Sylvia Plath, Lady Lazarus

Sylvia Plath, Morning Song

Edgar Allan Poe, Annabel Lee

Alexander Pope, from An Essay on Man (Epistle 1)

Ezra Pound, In a Station of the Metro

New D.A. Powell, [autumn set us heavily to task: unrooted the dahlias]

New D.A. Powell, [cherry elixir: the first medication. so mary poppins]

Sir Walter Ralegh, The Lie

New Srikanth Reddy, Fourth Circle

Adrienne Rich, Diving into the Wreck

New Adrienne Rich, I Am in Danger—Sir--

Adrienne Rich, The Middle-Aged

Alberto Ríos, Teodoro Luna's Two Kisses

Edwin Arlington Robinson, Richard Cory

Theodore Roethke, Elegy for Jane

Theodore Roethke, The Waking

New Aleida Rodríquez, Lexicon of Exile

New Noelle Brynn Saito, Turkey People

William Shakespeare, Fear No More the Heat o' the Sun

William Shakespeare, Full Fathom Five

William Shakespeare, Sonnet 18 (Shall I compare thee to a summer's day?)

William Shakespeare, Sonnet 116 (Let me not to the marriage of true minds)

Percy Bysshe Shelley, Ode to the West Wind

Percy Bysshe Shelley, Ozymandias

Sir Philip Sidney, from Astrophel and Stella

1 (Loving in Truth)

31 (With how sad steps)

Charles Simic, Charon's Cosmology

Charles Simic, Fork

New Charles Simic, A Suitcase Strapped with a Rope

Christopher Smart, From Jubilate Agno

Christopher Smart, On a Bed of Guernsey Lilies

Dave Smith, On a Field Trip at Fredericksburg

New Ron Smith, The Teachers Pass the Popcorn

Stevie Smith, Not Waving But Drowning

New Tracy K. Smith, El Mar

New Tracy K. Smith, Credulity

Gary Snyder, Axe Handles

Gary Snyder, How Poetry Comes to Me

New Edmund Spenser, A Hymne in Honour of Love

Edmund Spenser, Sonnet 75 (One day I wrote her name upon the strand)

Wallace Stevens, The Idea of Order at Key West

Wallace Stevens, The Planet on the Table

Wallace Stevens, The Snow Man

Wallace Stevens, Sunday Morning

Wallace Stevens, Thirteen Ways of Looking at a Blackbird

Mark Strand, Keeping Things Whole

New Adrienne Su, The English Canon

New May Swenson, Untitled

New May Swenson, I Look at My Hand

New May Swenson, How Everything Happens

Alfred, Lord Tennyson, from In Memoriam A.H.H.

7 (Dark house)

99 (Risest thou thus)

106 (Ring out, wild bells)

12 (Sad Hesper o'er the buried sun)

Alfred, Lord Tennyson, Tears, Idle Tears

Alfred, Lord Tennyson, Ulysses

Dylan Thomas, Fern Hill

Dylan Thomas, In My Craft or Sullen Art

New Natasha Trethewey, What is Evidence

Henry Vaughan, They Are All Gone into the World of Light!

Derek Walcott, Blues

Derek Walcott, God Rest Ye Merry, Gentlemen

New Derek Walcott, Perhaps it exists….

Rosanna Warren, In Creve Coeur, Missouri

New Joshua Weiner, The Yonder Tree

New James Welch, Getting Things Straight

James Welch, Harlem, Montana: Just Off the Reservation

New Phillis Wheatley, To S.M. a young African Painter, on seeing his Works

Walt Whitman, A Hand-Mirror

Walt Whitman, from Song of Myself

1. (I celebrate myself)

6 (A child said, What is the grass?)

52 (The spotted hawk)

Walt Whitman, Vigil Strange I Kept on the Field One Night

Richard Wilbur, Cottage Street, 1953

Richard Wilbur, The Writer

William Carlos Williams, Landscape with the Fall of Icarus

William Carlos Williams, The Raper from Passenack

William Carlos Williams, Spring and All

William Carlos Williams, This Is Just to Say

William Wordsworth, My Heart Leaps Up

William Wordsworth, Ode: Intimations of Immortality

William Wordsworth, The Solitary Reaper

James Wright, A Blessing

James Wright, Small Frogs Killed on the Highway

Sir Thomas Wyatt, Forget Not Yet

New John Yau, Autobiography in Red and Yello

William Butler Yeats, Among School Children

New William Butler Yeats, A Dialogue Between Self and Soul

William Butler Yeats, Down by the Salley Gardens

William Butler Yeats, The Lake Isle of Innisfree

William Butler Yeats, Leda and the Swan

William Butler Yeats, Sailing to Byzantium

William Butler Yeats, The Second Coming

Appendices

On Prosody

On Grammar

On Speech Acts

On Rhetorical Devices

On Lyric Subgenres

Index of Authors, Titles, and First Lines

Index of Terms [Endpapers]

Elizabeth Hun Schmidt, a former poetry editor at the New York Times Book Review, is the editor of the acclaimed anthology Poems of New York and The Poets Laureate Anthology. She lives in New York City and currently teaches American literature at Sarah Lawrence College.

Billy Collins was a Poet Laureate of the United States.

", "movies.authors": "Elizabeth Hun Schmidt, Library of Congress Staff (With), Billy Collins", "movies.title_slug": "the-poets-laureate-anthology", "movies.author_slug": "elizabeth-hun-schmidt", "movies.isbn13": 9780393061819, "movies.isbn10": 393061817, "movies.price": "$38.52", "movies.format": "Hardcover", "movies.publisher": "Norton, W. W. & Company, Inc.", "movies.pubdate": "October 2010", "movies.edition": "New Edition", "movies.subjects": "Poetry, American Literature Anthologies, Anthologies", "movies.lexile": "", "movies.pages": 816, "movies.dimensions": "6.50 (w) x 9.30 (h) x 1.70 (d)", "movies.overview": "

The first anthology to gather poems by the forty-three poets laureate of the United States.

As a record of poetry, The Poets Laureate Anthology is groundbreaking, charting the course of American poetry over the last seventy-five years, while being, at the same time, a pleasure to read, full of some of the world’s best-known poems and many new surprises. Elizabeth Hun Schmidt has gathered and introduced poems by each of the forty-three poets who have been named our nation’s poets laureate since the post (originally called Consultant in Poetry to the Library of Congress) was established in 1937. Poets range from Robert Pinsky, William Carlos Williams, and Elizabeth Bishop to Charles Simic, Billy Collins, and Rita Dove. Schmidt’s spirited introductions place the poets and their poems in historical and literary context and shine light on the interesting and often uneasy relationship between politics and art. This is an inviting, monumental collection for everyone’s library, containing much of the best poetry written in America over the last century.

", "movies.excerpt": "", "movies.synopsis": "

The first anthology to gather poems by the forty-three poets laureate of the United States.

Publishers Weekly

The United States has a long tradition of choosing a national poet, though the term poet laureate only came to be used here after 1985. Before that, since its inception in 1935, the post was called consultant in poetry to the Library of Congress. So far we've had 43 of them, including some of America's most famous and best-loved poets, such as Robert Frost, Elizabeth Bishop, and, of course, Billy Collins, perhaps the most popular poet to hold the title (2001 2003), and also the author of the foreword to this enjoyable anthology, which offers a sampling of work from all 43 laureates, plus short introductions about each one. Former New York Times Book Review poetry editor Schmidt calls the laureates \"the gatekeepers of the American idiom,\" and above all, that's what a reader will find here: a good sampling of what the mainstream of American poetry has to offer--the careful descriptions of Bishop, the powerful critiques of Brooks, the surreal landscapes of Simic, Merwin's deep images, Bogan's careful stanzas, Lowell's blustery lines. There are a few occasional poems, but mostly, it's a gathering of great poets hanging together because they held an important job. This will be a wonderful holiday gift for poetry lovers. (Oct.)

", "movies.toc": "", "movies.editorial_reviews": "

Publishers Weekly

The United States has a long tradition of choosing a national poet, though the term poet laureate only came to be used here after 1985. Before that, since its inception in 1935, the post was called consultant in poetry to the Library of Congress. So far we've had 43 of them, including some of America's most famous and best-loved poets, such as Robert Frost, Elizabeth Bishop, and, of course, Billy Collins, perhaps the most popular poet to hold the title (2001–2003), and also the author of the foreword to this enjoyable anthology, which offers a sampling of work from all 43 laureates, plus short introductions about each one. Former New York Times Book Review poetry editor Schmidt calls the laureates \"the gatekeepers of the American idiom,\" and above all, that's what a reader will find here: a good sampling of what the mainstream of American poetry has to offer--the careful descriptions of Bishop, the powerful critiques of Brooks, the surreal landscapes of Simic, Merwin's deep images, Bogan's careful stanzas, Lowell's blustery lines. There are a few occasional poems, but mostly, it's a gathering of great poets hanging together because they held an important job. This will be a wonderful holiday gift for poetry lovers. (Oct.)\n\n

\n\n

Library Journal

\"Be careful what you say to us now./ The street-lamp is smashed, the window is jagged,/ There is a man dead in his blood by the base of the fountain./ If you speak/ You cannot be delicate or sad or clever.\" With these lines, Josephine Jacobsen reminds readers that despite all the hardship in the world, poetry is there to report. With this sweeping behemoth of an anthology, Norton and the Library of Congress have given readers and libraries an excellent excuse to own another book. Schmidt, former poetry editor for the New York Times Book Review, has included all of the Poet Laureate Consultants (commonly known as U.S. Poet Laureates) from Joseph Auslander (1937–41) to Kay Ryan (2007–10). Even newly named Poet Laureate W.S. Merwin is included because he served as Special Bicentennial Consultant with Rita Dove and Louise Glück (1999–2000). Schmidt gives readers a fine selection of poems for each poet, some expected and some surprises. In addition, she includes introductions that place poets in social and literary context and elaborates their contributions to the office of Consultant. For example, William Carlos Williams's term was mired in Communist controversy and health problems, and while appointed, he never served. VERDICT A hefty and worthy read that everyone will want to savor. Essential for all contemporary poetry collections.—Karla Huston, Appleton Arts Ctr., WI\n\n

Ann Charters is the editor of The Portable Sixties Reader, The Portable Jack Kerouac, two volumes of Jack Kerouac's Selected Letters, and Beat Down to Your Soul. She teaches at the University of Connecticut.

", "movies.authors": "Various, Ann Charters", "movies.title_slug": "the-portable-beat-reader", "movies.author_slug": "various", "movies.isbn13": 9780142437537, "movies.isbn10": 142437530, "movies.price": "$18.00", "movies.format": "Paperback", "movies.publisher": "Penguin Group (USA)", "movies.pubdate": "July 2003", "movies.edition": "Reissue", "movies.subjects": "Literary Collections, American", "movies.lexile": "", "movies.pages": "", "movies.dimensions": "", "movies.overview": "", "movies.excerpt": "", "movies.synopsis": "

Through poetry, fiction, essays, song lyrics, letters, and memoirs, this authoritative single-volume collection of Beat literature captures the triumphant energy of a movement that swept through American letters with hurricane force.

Featuring: Jack Kerouac, Allen Ginsberg, William Burroughs, Gary Snyder, Neal Cassady, Gregory Corso, Diane Di Prima, Bob Dylan, Ken Kesey, Charles Bukowski, Michael McClure, and more.

Publishers Weekly

Cutting through bohemian posturing and excess, Charters here reprints much of the most vital, readable and relevant material produced by the Beat generation, primarily in the 1950s and '60s, with some selections from the '70s and '80s. The novels of such leading figures as Jack Kerouac and William S. Burroughs lend themselves well to excerpting, giving this volume creditable ballast. Representative works of Allen Ginsberg, Lawrence Ferlinghetti and Gary Snyder are included along with those of lesser-known Beats (e.g., John Clellon Holmes), fellow travelers like Frank O'Hara and Amiri Baraka, and wives and girlfriends often overlooked at the time, including Hettie Jones, Carolyn Cassady and Joyce Johnson. Charters ( Kerouac ) offers a broad perspective on this seminal literary movement: she links East Coast Beats to the San Francisco Renaissance poets; pays attention to such latter-day Beats as Ed Sanders and Tuli Kupferberg; and explains the position of non-Beat but related writers--Alan Watts, Anne Waldman, Diane DiPrima and the young Norman Mailer--in her helpful introductory essay and notes preceeding each entry. Her energizing, liberating anthology makes it clear that such Beat preoccupations as the bomb, the meaninglessness of modern existence and ecological destruction remain current. ( Jan. )

This edition of the highly esteemed and long-enduring Best American Short Plays series contains fresh-voiced, cutting-edge plays by nineteen playwrights, both established and among the most promising of the new millennium. Each of these plays reflects the enormous diversity of contemporary American theatre.

", "movies.excerpt": "", "movies.synopsis": "

Applause is proud to continue the series that for over 70 years has been the standard of excellence for one-act plays in America. From its inception, The Best American Short Plays has identified new, cutting-edge playwrights who have gone on to establish award-winning careers, including Tennessee Williams, Edward Albee, Wendy Wasserstein, Terrence McNally, and David Mamet. The complex and diverse plays that make up this collection reflect both personal concerns and social issues. The 2008-2009 edition includes A Second of Pleasure, by Neil LaBute; St. Francis Preaches to the Birds, by David Ives; The Stormy Waters, The Long Way Home, by Carey Lovelace; Early Morning, by Eric Lane; Sisters, by Adam Kraar, Maria Filimon, and Tasnim Mansur; Little Duck, by Billy Aronson; A Portrait of the Woman as a Young Artist, by Meg Miroshnik; Slapped Actress, by Emily Conbere; The Last Artist in NYC, by Polly Frost and Ray Sawhill; THE TRUE AUTHOR of the plays formerly attributed to Mister William Shakespeare REVEALED to the world for the first time by Miss Delia Bacon, by James Armstrong; The Lovers and Others of Eugene O'Neill, by Marla Del Collins; III, by Joe Salvatore; Pete and Joe at the Dew Drop Inn, by Lewis Gardner; This Is Your Lifetime, by Jill Elaine Hughes; Decades Apart, by Rick Pulos; Never Spoke Again, by Barbara Parisi-Pasternack; 508, by Amy Herzog; Ella, by Dano Madden; and Naked Old Man, by Murray Schisgal.

", "movies.toc": "

Foreword: A Simple, Brilliant Idea David Ives ix

Introduction Barbara Parisi xiii

A Second of Pleasure Neil LaBute 1

St. Francis Preaches to the Birds David Ives 17

The Stormy Waters, the Long Way Home Carey Lovelace 41

Early Morning Eric Lane 49

Sisters Adam Kraar Maria Filimon Tasnim Mansur 81

Little Duck Billy Aronson 89

A Portrait of the Woman as a Young Artist Meg Miroshnik 113

Slapped Actress Emily Conbere 153

The Last Artist in New York City Polly Frost Ray Sawhill 163

The True Author of the Plays Formerly Attributed to Mister William Shakespeare Revealed to the World for the First Time by Miss Delia Bacon James Armstrong 179

The Lovers and Others of Eugene O'Neill Maria Del Collins 191

III Joe Salvatore 217

Pete and Joe at the Dew Drop Inn Lewis Gardner 271

Decades Apart: Reflections of Three Gay Men Rick Pulos 285

508 Amy Herzog 313

Naked Old Man Murray Schisgal 325

Acknowledgments 351

Lori Foster is the New York Times and USA Today bestselling author of many contemporary romances, including My Man Michael (2/09). She lives in Ohio.

", "movies.authors": "Lori Foster, Gia Dawn, Ann Christopher, Lisa Cooke, Heidi Betts", "movies.title_slug": "the-gift-of-love", "movies.author_slug": "lori-foster", "movies.isbn13": 9780425234280, "movies.isbn10": 425234282, "movies.price": "$14.43", "movies.format": "Paperback", "movies.publisher": "Penguin Group (USA)", "movies.pubdate": "June 2010", "movies.edition": "", "movies.subjects": "Short Story Anthologies, Family & Friendship - Fiction, American Literature Anthologies", "movies.lexile": "", "movies.pages": 368, "movies.dimensions": "5.10 (w) x 7.90 (h) x 1.00 (d)", "movies.overview": "

Edited by New York Times bestselling author Lori Foster-a heartwarming anthology of all-new stories that celebrate family love.

Families come in many configurations, and every one is unique, made up of the personalities of each member. But the love that connects families is universal. Whether it is the love of parents for their children, the love between a husband and wife, the love between siblings, a love that transcends generations, or even the love for a family member never met, the family ties that bind us are the strongest and deepest emotional connections we experience. Families influence a person's development, how they treat others, and how they view life. In The Gift of Love, eight exceptional writers offer a variety of unique perspectives on what family love means and how it impacts our lives in ways profound and often surprising.

Featuring:

Lori Foster ? Heidi Betts ? Jules Bennett ? Ann Christopher ? Lisa Cooke ? Paige Cuccaro ? Gia Dawn ? Helen Kay Dimon

", "movies.excerpt": "", "movies.synopsis": "

Edited by New York Times bestselling author Lori Foster-a heartwarming anthology of all-new stories that celebrate family love.

Featuring:

Lori Foster • Heidi Betts • Jules Bennett • Ann Christopher • Lisa Cooke • Paige Cuccaro • Gia Dawn • Helen Kay Dimon

This treasury of beloved poems collects all your favorite poets in one book. Whether you’re looking for a love poem or something to mend a broken heart, perhaps you’re feeling patriotic or struggling to understand the nature of man, the timeless words of Shakespeare, Emily Dickinson, John Milton, and Dante Gabriel Rossetti are at your fingertips.

From the Romantic poets like Percy Bysshe Shelley and John Keats to the Transcendentalists like Ralph Waldo Emerson, this comprehensive collection contains examples of the many periods of writing from England to Scotland and on to the United States.

Included are such favorites as:

Walt Whitman’s O Captain! My Captain!

Eugene Field’s Little Boy Blue

Percy Bysshe Shelley’s To a Skylark

Joyce Kilmer’s Trees

Robert Burns’ Letter to a Young Friend

Henry Wadsworth Longfellow’s Paul Revere’s Ride

Edgar Allan Poe’s The Raven

Three indices let you find your favorite poems by title, author, and first line.

J. D. McClatchy is the author of five collections of poems: Scenes From Another Life, Stars Principal, The Rest of the Way, Ten Commandments, and Hazmat. He has also written two books of essays: White Paper and Twenty Questions. He has edited many other books, including The Vintage Book of Contemporary World Poetry, Poets on Painters, and Horace: The Odes. In addition, he edits The Voice of the Poet series for Random House AudioBooks, and has written seven opera libretti. He is a Chancellor of the Academy of American Poets and a member of the American Academy of Arts and Letters. He has taught at Princeton, UCLA, and Johns Hopkins, and is now a professor at Yale, where since 1991 he has edited The Yale Review. He lives in Stonington, Connecticut.

", "movies.authors": "J. D. McClatchy", "movies.title_slug": "the-vintage-book-of-contemporary-american-poetry", "movies.author_slug": "j-d-mcclatchy", "movies.isbn13": 9781400030934, "movies.isbn10": 1400030935, "movies.price": "$13.65", "movies.format": "Paperback", "movies.publisher": "Knopf Doubleday Publishing Group", "movies.pubdate": "April 2003", "movies.edition": "Revised", "movies.subjects": "Poetry Anthologies, American Poetry, American Literature Anthologies", "movies.lexile": "", "movies.pages": 656, "movies.dimensions": "5.20 (w) x 7.99 (h) x 1.16 (d)", "movies.overview": "

Dazzling in its range, exhilarating in its immediacy and grace, this collection gathers together, from every region of the country and from the past forty years, the poems that continue to shape our imaginations. From Robert Lowell and Elizabeth Bishop, John Ashbery and Adrienne Rich, to Robert Haas and Louise Gluck, this anthology takes the full measure of our poetry's daring energies and its tender understandings.

", "movies.excerpt": "", "movies.synopsis": "

Publishers Weekly

Poetry devotees will be familiar with much of the work in this fine collection, which focuses on the period from WW II until the present. Sixty-five poets, including such well-known writers as Robert Lowell, Allen Ginsberg, Theodore Roethke, Anne Sexton, James Dickey, Denise Levertov and Gary Snyder, are represented by anywhere from one to a dozen poems each, as well as a brief biography that touches on the writer's aesthetic ideas. McClatchy, himself a poet and critic, has done an exceptional job of selecting works that typify the poets' styles and beliefs. Standouts are Elizabeth Bishop's ``In the Waiting Room,'' about the poet's first perception of herself in relation to others; Randall Jarrell's ``The Woman at the Washington Zoo,'' which deals with the dull, emotionless routine of modern life; Frank O'Hara's ``Having a Coke with You,'' a dizzy declaration of love during a visit to a New York museum; and Mark Strand's ``Keeping Things Whole,'' in which the poet sees his presence in the world as subtracting from the whole of reality. Unfortunately, the poems are not dated, giving the reader no sense of the writers' chronological development. (Nov.)

", "movies.toc": "

	Introduction
	A Note on the Second Edition, 2003
	The Quaker Graveyard in Nantucket	3
	Memories of West Street and Lepke	8
	Man and Wife	9
	Skunk Hour	10
	The Mouth of the Hudson	12
	For the Union Dead	13
	Waking Early Sunday Morning	15
	History	18
	The Nihilist as Hero	18
	Reading Myself	19
	Obit	19
	Fishnet	20
	Dolphin	20
	Epilogue	21
	The Bight	22
	Over 2,000 Illustrations and a Complete Concordance	23
	At the Fishhouses	25
	The Shampoo	28
	Brazil, January 1, 1502	28
	Under the Window: Ouro Preto	30
	The Armadillo	32
	Filling Station	33
	In the Waiting Room	34
	One Art	37
	Poem	38
	Cuttings	40
	Root Cellar	41
	The Shape of the Fire	41
	The Waking	44
	I Knew a Woman	45
	In a Dark Time	46
	The Moon and the Night and the Men	47
	From the Dream Songs (1, 4, 5, 14, 29, 46, 76, 77, 143, 257, 384)	48
	90 North	56
	Eighth Air Force	57
	The Death of the Ball Turret Gunner	58
	The Woman at the Washington Zoo	58
	Cinderella	59
	Next Day	60
	Well Water	62
	Masts at Dawn	63
	Birth of Love	65
	Rattlesnake Country	66
	Evening Hawk	72
	The Kingfishers	73
	For My Contemporaries	80
	To My Wife	81
	From a Century of Epigrams 9 (29, 53, 55, 62, 76)	81
	Night, Death, Mississippi	83
	Frederick Douglass	85
	Middle Passage	85
	Amsterdam Letter	91
	Cracked Looking Glass	93
	After Reading The Country of the Pointed Firs	94
	Teleology	97
	Unconscious Came a Beauty	98
	Stone Gullets	99
	Staying at Ed's Place	99
	Strawberrying	100
	A Poem Beginning With a Line by Pindar	101
	Styx	109
	The Illiterate	111
	Thoughts on One's Head	112
	Consequences	113
	Country Stars	115
	The Jain Bird Hospital in Delhi	115
	Storm Windows	117
	Writing	118
	Money	119
	The Dependencies	120
	Learning the Trees	121
	Because You Asked About the Line Between Prose and Poetry	122
	The War in the Air	123
	A Baroque Wall-Foundation in the Villa Sciarra	124
	Looking Into History	126
	Love Calls Us to the Things of This World	128
	Mind	129
	Advice to a Prophet	130
	Walking to Sleep	131
	Hamlen Brook	135
	Homework	136
	Into Mexico	137
	The Twins	138
	A View	139
	The Stream	141
	The Pruned Tree	145
	The Wars	146
	Menage a Trois	147
	Elegy for My Sister	149
	Rules of Sleep	152
	Einstein's Bathrobe	153
	The Heaven of Animals	155
	The Hospital Window	156
	The Sheep Child	158
	The Strength of Fields	160
	A Hill	162
	Third Avenue in Sunlight	163
	\"More Light! More Light!\"	164
	Peripeteia	165
	The Feast of Stephen	168
	The Crystal Lithium	170
	Shimmer	175
	Korean Mums	176
	Clouds	178
	The Ache of Marriage	179
	Intrusion	180
	Seeing for a Moment	180
	Prisoners	181
	Graves at Elkhorn	183
	The Lady in Kicking Horse Reservoir	184
	Degrees of Gray in Philipsburg	186
	The River Now	187
	An Afternoon at the Beach	188
	Amor Vincit Omnia	189
	From Autumn Shade (3, 6, 8, 9)	189
	A Muse of Water	192
	Amusing Our Daughters	194
	From Pro Feminia (I, II)	195
	The Evening of the Mind	198
	Men at Forty	199
	The Tourist from Syracuse	200
	Variations on a Text by Vallejo	201
	The Assassination	202
	Mule Team and Poster	202
	To the Harbormaster	204
	A Step Away from Them	205
	Meditations in an Emergency	206
	Why I Am Not a Painter	208
	The Day Lady Died	208
	Having a Coke With You	209
	Ave Maria	211
	The Best Slow Dancer	212
	The Naval Trainees Learn How to Jump Overboard	213
	The Excursion of the Speech and Hearing Class	214
	Five Dawn Skies in November	215
	Making Camp	215
	The Source	216
	I Know a Man	218
	The Rescue	219
	Air: \"The Love of a Woman\"	219
	For Friendship	220
	For Love	220
	Again	222
	The World	223
	From Howl (I)	225
	Sunflower Sutra	229
	My Sad Self	231
	Wales Visitation	233
	April Inventory	237
	From Heart's Needle (2, 6)	239
	Mementos, 1	241
	A Locked House	242
	A Renewal	244
	Voices from the Other World	245
	Days of 1964	246
	Willowware Cup	248
	Lost in Translation	249
	The Animals	256
	Some Last Questions	257
	The River of Bees	257
	For the Anniversary of My Death	258
	The Asians Dying	259
	For a Coming Extinction	260
	The Night of the Shirts	261
	Bread	261
	St. Vincent's	262
	He Held Radical Light	265
	Gravelly Run	266
	Corsons Inlet	267
	Reflective	271
	Terrain	271
	The City Limits	272
	Glazunoviana	274
	Soonest Mended	275
	As One Put Drunk Into the Packet-Boat	277
	Pyrography	278
	And Ut Pictura Poesis Is Her Name	281
	Syringa	282
	My Erotic Double	284
	At the Executed Murderer's Grave	286
	Autumn Begins in Martins Ferry, Ohio	289
	Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota	290
	Beginning	290
	A Blessing	291
	In Response to a Rumor That the Oldest Whorehouse in Wheeling, West Virginia, Has Been Condemned	292
	A Winter Daybreak Above Vence	293
	Vapor Trail Reflected in the Frog Pond	295
	Last Songs	296
	The Bear	297
	After Making Love We Hear Footsteps	300
	The Man Splitting Wood in the Daybreak	301
	The Vow	302
	The Man on the Hotel Room Bed	302
	Her Kind	304
	Music Swims Back to Me	305
	The Truth the Dead Know	306
	The Starry Night	307
	With Mercy for the Greedy	307
	Wanting to Die	308
	The Room of My Life	310
	The Horse	311
	They Feed They Lion	313
	Belle Isle, 1949	314
	You Can Have It	314
	Rain Downriver	316
	Sweet Will	317
	Family History	320
	The Dream	324
	From All of Us Here	325
	The Night Mirror	328
	From Powers of Thirteen (3, 29, 69, 82, 87, 130)	329
	Swan and Shadow	333
	The Mad Potter	334
	The Venetian Interior, 1889	338
	At the Monument to Pierre Louys	342
	Snapshots of a Daughter-in-Law	345
	Planetarium	349
	The Burning of Paper Instead of Children	351
	Paula Becker to Clara Westhoff	354
	For the Record	357
	For an Album	358
	Mid-August at Sourdough Mountain Lookout	359
	Riprap	360
	Burning Island	361
	The Bath	362
	I Went Into the Maverick Bar	365
	Axe Handles	366
	The Colossus	368
	The Hanging Man	369
	Morning Song	370
	Daddy	370
	Fever 103[degree]	373
	Ariel	375
	Lady Lazarus	376
	Edge	378
	Words	379
	Keeping Things Whole	381
	Coming to This	382
	The Prediction	382
	\"The Dreadful Has Already Happened\"	383

", "movies.editorial_reviews": "

Publishers Weekly - Publisher's Weekly\n

\n\n

Library Journal

Alluding to the anthology wars of a generation ago, McClatchy writes in his introduction that his choices are strictly nonpartisan (neither ``Paleface or Redskin, or Academic and Avant-Garde''). But from the 65 poets he has selected to represent the course of American poetry over the last half century--beginning with Robert Lowell and ending with Jorie Graham--it is clear his preferences are formalistic and academic. The typical poem a reader will encounter in these pages is urbane, finely honed, and smoothly accomplished. As in all anthologies, the omissions and inclusions are telling. Where are Rexroth, Kees, and Rukeyser? Why Cunningham, Bowers, Feldman, and Garrigue and not Ignatow, Brooks, Blackburn, and Bly? While it is a delight to have many of the poets McClatchy has chosen collected together in a reasonably priced edition, a greater variety of voice and aesthetic would have made this anthology a livelier survey of the state of contemporary American poetry. Still, it is a useful addition to most collections. For the 100 most anthologized poems in English, see review of The Concise Columbia Book of Poetry, p. 74.--Ed.-- Christine Sten strom, New York Law Sch. Lib.\n\n

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Always a good price with quality selections, the Fourth Edition of Gwynn's Literature: A Pocket Anthology continues that tradition. Organized chronologically with a thematic appendix and streamlined apparatus, this anthology can be taylored to however the course is taught. Individual Fiction, Poetry, and Drama introductions provide an overview for reading and analyzing each genre, defining key terms in context. More than a third of the selections overall represent voices of women, people of color, and writers from cultures outside the United States, and a strong effort has been made to include work that reflects contemporary social questions and will stimulate classroom discussion. New poems, stories, and plays are among the changes to the Fourth Edition.

", "movies.toc": "

Introduction

Experience, Experiment, Expand: Three Reasons to Study Literature

Fiction

Introduction to Fiction

The Telling of the Tale

The Short Story Genre

Reading and Analyzing Short Fiction

Nathanel Hawthorne (1804-1864)

* The Minister’s Black Veil

Edgar Allan Poe (1809-1849)

• Ligeia

Sarah Orne Jewett (1849-1909)

A White Heron

Guy de Maupassant (1850-1893)

Mother Savage

Kate Chopin (1851-1904)

The Story of an Hour

Charlotte Perkins Gilman (1860-1935)

The Yellow Wallpaper

Edith Wharton (1862-1937)

Roman Fever

Willa Cather (1876-1947)

Paul’s Case

James Joyce (1882-1941)

Araby

Zora Neale Hurston (1891-1960)

Sweat

William Faulkner (1897-1962)

A Rose for Emily

Ernest Hemingway (1899-1961)

• Up in Michigan

John Steinbeck (1902-1968)

The Chrysanthemums

Richard Wright (1908-1960)

The Man Who Was Almost a Man

John Cheever (1912-1982)

Reunion

Ralph Ellison (1914-1995)

A Party Down at the Square

Shirley Jackson (1919-1965)

The Lottery

* Hisaye Yamamoto (b. 1921)

Seventeen Syllables

Flannery O'Connor (1925-1964)

• Everything That Rises Must Converge

Gabriel García Márquez (b. 1928)

A Very Old Man with Enormous Wings

Chinua Achebe (b. 1930)

Dead Men’s Path

Alice Munro (b. 1931)

• The Bear Came Over the Mountain

Joyce Carol Oates (b. 1938)

Where Are You Going, Where Have You Been?

Raymond Carver (1938-1988)

Cathedral

Margaret Atwood (b. 1939)

Happy Endings

Bobbie Ann Mason (b. 1940)

Shiloh

Alice Walker (b. 1944)

Everyday Use

* Tim O’Brien

The Things They Carried

Tim Gautreaux (b. 1947)

Died and Gone to Vegas

Sandra Cisneros (b. 1954)

Woman Hollering Creek

Louise Erdrich (b. 1954)

The Red Convertible

Gish Jen (b. 1955)

In the American Society

Daniel Orozco (b. 1957)

Orientation

* Sherman Alexie

This Is What It Means to Say Phoenix, Arizona

Poetry

Introduction to Poetry

An Anecdote: Where Poetry Starts

Speaker, Listener, and Context

“The Star-Spangled Banner”

Lyric, Narrative, Dramatic

The Language of Poetry

Figurative Language

Allegory and Symbol

Tone of Voice

Repetition: Sounds and Schemes

Meter and Rhythm

Free Verse and Open Form

Stanza Forms

Fixed Forms

Literary History and Poetic Conventions

Anonymous

Western Wind

Bonny Barbara Allan

Sir Patrick Spens

Sir Thomas Wyatt (1503?-1542)

They Flee from Me

Whoso List to Hunt

Edmund Spenser (1552-1599)

Amoretti: Sonnet 75

Sir Philip Sidney (1554-1586)

Astrophel and Stella: Sonnet 1

Robert Southwell (1561?-1595)

The Burning Babe

Michael Drayton (1563-1631)

Idea: Sonnet 61

William Shakespeare (1564-1616)

Sonnet 18

Sonnet 20

Sonnet 29

Sonnet 73

Sonnet 116

Sonnet 130

When Daisies Pied (Spring and Winter)

Thomas Campion (1567-1620)

There Is a Garden in Her Face

John Donne (1572-1631)

The Flea

Holy Sonnet 10

Holy Sonnet 14

• The Sun Rising

A Valediction: Forbidding Mourning

Ben Jonson (1573-1637)

On My First Son

Slow, Slow, Fresh Fount

Mary Wroth (1587?-1651?)

In this Strange Labyrinth How Shall I Turn

Robert Herrick (1591-1674)

To the Virgins, to Make Much of Time

George Herbert (1593-1633)

Easter Wings

Love (III)

The Pulley

Redemption

Edmund Waller (1606-1687)

Song

John Milton (1608-1674)

How Soon Hath Time

On the Late Massacre in Piedmont

When I Consider How My Light Is Spent

Anne Bradstreet (1612-1672)

The Author to Her Book

Richard Lovelace (1618-1658)

To Lucasta, Going to the Wars

Andrew Marvell (1621-1678)

To His Coy Mistress

John Dryden (1631-1700)

To the Memory of Mr. Oldham

Edward Taylor (1642-1729)

Huswifery

Jonathan Swift (1667-1745)

A Description of a City Shower

Alexander Pope (1688-1744)

from An Essay on Criticism

Ode on Solitude

Thomas Gray (1716-1771)

Elegy Written in a Country Churchyard

William Blake (1757-1827)

The Chimney Sweeper

The Little Black Boy

A Poison Tree

The Tyger

Robert Burns (1759-1796)

A Red, Red Rose

John Barleycorn

William Wordsworth (1770-1850)

I Wandered Lonely as a Cloud

It Is a Beauteous Evening

Ode: Intimations of Immortality

Samuel Taylor Coleridge (1772-1834)

Frost at Midnight

Kubla Khan

Work Without Hope

George Gordon, Lord Byron (1788-1824)

She Walks in Beauty

Stanzas

When We Two Parted

Percy Bysshe Shelley (1792-1822)

Ode to the West Wind

Ozymandias

William Cullen Bryant (1794-1878)

To the Fringed Gentian

John Keats (1795-1821)

La Belle Dame sans Merci

Ode to a Nightingale

On First Looking into Chapman's Homer

When I Have Fears

Elizabeth Barrett Browning (1806-1861)

Sonnets from the Portuguese, 18

Sonnets from the Portuguese, 43

Henry Wadsworth Longfellow (1807-1882)

The Arsenal at Springfield

The Cross of Snow

Edgar Allan Poe (1809-1849)

The Haunted Palace

The Raven

* Sonnet to Science

Alfred, Lord Tennyson (1809-1892)

The Lady of Shallot

Tears, Idle Tears

Ulysses

Robert Browning (1812-1889)

My Last Duchess

Porphyria's Lover

• Prospice

Walt Whitman (1819-1892)

A Noiseless Patient Spider

O Captain, My Captain

• A Sight in Camp in the Daybreak Grey and Dim

Song of Myself, 6

Song of Myself, 11

When I Heard the Learn'd Astronomer

Matthew Arnold (1822-1888)

Dover Beach

Emily Dickinson (1830-1886)

After Great Pain, a Formal Feeling Comes

Because I Could Not Stop for Death

The Brain Is Wider than the Sky

A Narrow Fellow in the Grass

Some Keep the Sabbath Going to Church

The Soul Selects Her Own Society

Tell All the Truth but Tell It Slant

Wild Nights—Wild Nights

Christina Rossetti (1830-1894)

Up-Hill

Thomas Hardy (1840-1928)

Ah, Are You Digging on My Grave?

* Chanel Firing

• The Man He Killed

Neutral Tones

The Ruined Maid

Gerard Manley Hopkins (1844-1889)

God's Grandeur

Pied Beauty

Spring and Fall: To a Young Child

Emma Lazarus (1849-1887)

The New Colossus

A. E. Housman (1859-1936)

Eight O'Clock

Loveliest of Trees, the Cherry Now

Stars, I Have Seen Them Fall

“Terence, This Is Stupid Stuff . . .”

William Butler Yeats (1865-1939)

The Lake Isle of Innisfree

Leda and the Swan

Sailing to Byzantium

The Second Coming

The Song of Wandering Aengus

Edwin Arlington Robinson (1869-1935)

Firelight

The Mill

Richard Cory

Stephen Crane (1871-1900)

The Trees in the Garden Rained Flowers

The Wayfarer

Paul Laurence Dunbar (1872-1906)

We Wear the Mask

Robert Frost (1874-1963)

Acquainted with the Night

After Apple-Picking

Design

Home Burial

The Road Not Taken

Stopping by Woods on a Snowy Evening

Adelaide Crapsey (1878-1034)

Amaze

Languor after Pain

Trapped

Wallace Stevens (1879-1955)

Anecdote of the Jar

Disillusionment of Ten O'Clock

The Emperor of Ice-Cream

The Snow Man

Sunday Morning

• The Worms at Heaven’s Gate

William Carlos Williams (1883-1963)

The Last Words of My English Grandmother

The Red Wheelbarrow

Spring and All

Ezra Pound (1885-1972)

In a Station of the Metro

Portrait d'une Femme

The River-Merchant's Wife: A Letter

Elinor Wylie (1885-1928)

Let No Charitable Hope

Ophelia

H. D. (Hilda Doolittle) (1886-1961)

Pear Tree

Sea Rose

Siegfried Sassoon (1886-1967)

Dreamers

Robinson Jeffers (1887-1962)

The Purse-Seine

Marianne Moore (1887-1972)

The Fish

Silence

T. S. Eliot (1888-1965)

Journey of the Magi

The Love Song of J. Alfred Prufrock

John Crowe Ransom (1888-1974)

Piazza Piece

Edna St. Vincent Millay (1892-1950)

If I Should Learn, in Some Quite Casual Way

Oh, Oh, You Will Be Sorry for that Word

What Lips My Lips Have Kissed, and Where, and Why

Wilfred Owen (1893-1918)

Dulce et Decorum Est

e. e. cummings (1894-1962)

nobody loses all the time

pity this busy monster,manunkind

* plato told

r-p-o-p-h-e-s-s-a-g-r

Jean Toomer (1894-1967)

Georgia Dusk

Louise Bogan (1897-1970)

Women

Hart Crane (1899-1933)

Chaplinesque

Langston Hughes (1902-1967)

Dream Boogie

Theme for English B

The Weary Blues

Countee Cullen (1903-1946)

Incident

Yet Do I Marvel

A. D. Hope (1907-2000)

Imperial Adam

W. H. Auden (1907-1973)

As I Walked Out One Evening

Musée des Beaux Arts

The Unknown Citizen

Theodore Roethke (1908-1963)

Dolor

My Papa's Waltz

Root Cellar

Elizabeth Bishop (1911-1979)

The Fish

One Art

Sestina

Robert Hayden (1913-1980)

Those Winter Sundays

Dudley Randall (b. 1914)

Ballad of Birmingham

William Stafford (1914-1993)

Traveling through the Dark

Dylan Thomas (1914-1953)

Do Not Go Gentle into That Good Night

Poem in October

Weldon Kees (1914-1955)

For My Daughter

Randall Jarrell (1914-1965)

• 8^th Air Force

The Death of the Ball Turret Gunner

Margaret Walker (b. 1915)

For Malcolm X

Gwendolyn Brooks (1917-2000)

the ballad of chocolate Mabbie

the mother

We Real Cool

Robert Lowell (1917-1977)

For the Union Dead

Lawrence Ferlinghetti (b. 1919)

A Coney Island of the Mind, #15

May Swenson (1919-1989)

How Everything Happens

Howard Nemerov (1920-1991)

A Primer of the Daily Round

Richard Wilbur (b. 1921)

• Altitudes

The Writer

Year's End

Philip Larkin (1922-1985)

Next, Please

This Be the Verse

• The Whitsun Weddings

James Dickey (1923-1997)

The Heaven of Animals

Alan Dugan (b. 1923)

Love Song: I and Thou

Anthony Hecht (b. 1923)

• The Dover Bitch

Third Avenue in Sunlight

Denise Levertov (1923-1999)

The Ache of Marriage

Louis Simpson (b. 1923)

American Classic

My Father in the Night Commanding No

Vassar Miller (1924-1997)

Subterfuge

Donald Justice (b. 1925)

Counting the Mad

Carolyn Kizer (b. 1925)

The Ungrateful Garden

Maxine Kumin (b. 1925)

Noted in the New York Times

Allen Ginsberg (1926-1997)

A Supermarket in California

James Merrill (1926-1995)

Casual Wear

W. D. Snodgrass (b. 1926)

Mementos, I

Frank O'Hara (1926-1966)

The Day Lady Died

John Ashbery (b. 1927)

Farm Implements and Rutabagas in a Landscape

Paradoxes and Oxymorons

W. S. Merwin (b. 1927)

For the Anniversary of My Death

The Last One

James Wright (1927-1980)

Autumn Begins in Martins Ferry, Ohio

Saint Judas

Philip Levine (b. 1928)

You Can Have It

Anne Sexton (1928-1974)

Cinderella

Thom Gunn (b. 1929)

From the Wave

Terminal

X. J. Kennedy (b. 1929)

In a Prominent Bar in Secaucus One Day

• Little Elegy

Adrienne Rich (b. 1929)

Aunt Jennifer's Tigers

Diving into the Wreck

Rape

Ted Hughes (b. 1930)

Pike

Gary Snyder (b. 1930)

A Walk

Derek Walcott (b. 1930)

Central America

Miller Williams (b. 1930)

The Book

Linda Pastan (b. 1932)

Ethics

Sylvia Plath (1932-1963)

Daddy

Edge

Metaphors

Gerald Barrax (b. 1933)

Strangers like Us: Pittsburgh, Raleigh, 1945-1985

Mark Strand (b. 1934)

The Tunnel

Russel Edson (b. 1935)

Ape

Mary Oliver (b. 1935)

The Black Walnut Tree

Fred Chappell (b. 1936)

Narcissus and Echo

Lucille Clifton (b. 1936)

homage to my hips

wishes for sons

Marge Piercy (b. 1936)

What’s That Smell in the Kitchen?

Betty Adcock (b. 1938)

Voyages

Gary Gildner (b. 1938)

First Practice

Robert Phillips (b. 1938)

• The Stone Crab: A Love Poem

Dabney Stuart (b. 1938)

Discovering My Daughter

Margaret Atwood (b. 1939)

Siren Song

Stephen Dunn (b. 1939)

The Sacred

Seamus Heaney (b. 1939)

Punishment

* Clive James (b. 1959)

After the Storm

Ted Kooser (b. 1939)

Abandoned Farmhouse

Tom Disch (b. 1940)

Ballade of the New God

Florence Cassen Mayers (b. 1940)

All American Sestina

Pattiann Rogers (b. 1940)

Foreplay

Billy Collins (b. 1941)

Litany

Robert Hass (b. 1941)

• Meditation at Lagunitas

Simon J. Ortiz (b. 1941)

The Serenity in Stones

Gibbons Ruark (b. 1941)

The Visitor

Gladys Cardiff (b. 1942)

Combing

B.H. Fairchild (b. 1942)

Body and Soul

Charles Martin (b. 1942)

E.S.L.

Sharon Olds (b. 1942)

The One Girl at the Boys Party

Diane Lockward (b. 1943)

My Husband Discovers Poetry

Ellen Bryant Voight (b. 1943)

Daughter

Robert Morgan (b. 1944)

Mountain Bride

Craig Raine (b. 1944)

A Martian Sends a Postcard Home

Enid Shomer (b. 1944)

Women Bathing at Bergen-Belsen

Wendy Cope (b. 1944)

Rondeau Redoublé

Dick Davis (b. 1945)

A Monorhyme for the Shower

Kay Ryan (b. 1945)

Bestiary

Leon Stokesbury (b. 1945)

The Day Kennedy Died

* John Whitworth (b. 1945)

The Examiners

Marilyn Nelson (b. 1946)

The Ballad of Aunt Geneva

Ai (b. 1947)

Child Beater

Jim Hall (b. 1947)

Maybe Dats Your Pwoblem Too

Yusef Komunyakaa (b. 1947)

Facing It

Timothy Steele (b. 1948)

Sapphics Against Anger

James Fenton (b. 1949)

God, a Poem

Sarah Cortez (b. 1950)

Tu Negrito

Carolyn Forché (b. 1950)

The Colonel

Dana Gioia (b. 1950)

Planting a Sequoia

Rodney Jones (b. 1950)

Winter Retreat: Homage to Martin Luther King, Jr.

Timothy Murphy (b. 1950)

Case Notes

Joy Harjo (b. 1951)

She Had Some Horses

Andrew Hudgins (b. 1951)

Air View of an Industrial Scene

Judith Ortiz Cofer (b. 1952)

The Latin Deli: An Ars Poetica

Rita Dove (b. 1952)

• American Smooth

Mark Jarman (b. 1952)

After Disappointment

Julie Kane (b. 1952)

Alan Doll Rap

Naomi Shihab Nye (b. 1952)

The Traveling Onion

Alberto Ríos (b. 1952)

The Purpose of Altar Boys

Julia Alvarez (b. 1953)

Bilingual Sestina

Harryette Mullen (b. 1953)

Dim Lady

Kim Addonizio (b. 1954)

* Sonnenizio on a Line from Michael Drayton

David Mason (b. 1954)

• Fog Horns

Mary Jo Salter (b. 1954)

Welcome to Hiroshima

Cathy Song (b. 1955)

Stamp Collecting

Ginger Andrews (b. 1956)

Primping in the Rearview Mirror

* Joseph Harrison (b. 1957)

Air Larry

Catherine Tufariello (b. 1963)

Useful Advice

Sherman Alexie (b. 1966)

The Exaggeration of Despair

Natasha Trethewey (b. 1966)

Domestic Work, 1937

* Brian Turner (b. 1967)

Here, Bullet

Suji Kwock Kim (b. 1968)

Occupation

* Allison Joseph (b. 1967)

The Athlete

A. E. Stallings (b. 1968)

• First Love: A Quiz

Beth Ann Fennelly (b. 1971)

Asked for a Happy Memory of Her Father, She Recalls Wrigley Field

* Sophie Hannah (b. 1971)

The Guest Speaker

* Emily Moore (b. 1977)

Auld Lang Syne

Drama

Introduction to Drama

The Play’s the Thing

Origins of Drama

Aristotle on Tragedy

Brief History and Description of Dramatic Conventions

Sophocles (496?-406 B.C.)

• Antigone

William Shakespeare (1564-1616)

Othello

Henrik Ibsen (1828-1906)

• An Enemy of the People

Susan Glaspell (1882-1948)

Trifles

Tennessee Williams (1911-1983)

The Glass Menagerie

Athold Fugard (b. 1932)

“Master Harold” . . . and the boys

August Wilson (b. 1945)

The Piano Lesson

David Ives (b. 1950)

• Sure Thing

* Milcha Sanchez-Scott (b. 1953)

The Cuban Swimmer

* Arlene Hutton (b. 1958)

A Dream Before I Take the Stand

Appendix A: Writing about Literature", "movies.editorial_reviews": "", "movies.author_ids": 0, "movies.field_1": "", "movies.field_2": "", "movies.field_3": "", "movies.field_4": "", "movies.field_5": "", "movies.field_6": "", "movies.field_7": "", "movies.field_8": "", "movies.field_9": "", "movies.field_10": "", "movies.field_11": "", "movies.field_12": "", "movies.field_13": "", "movies.field_14": "", "movies.field_15": "", "movies.field_16": "", "movies.field_17": "", "movies.field_18": "", "movies.field_19": "", "movies.field_20": "", "movies.field_21": "", "movies.field_22": "", "movies.field_23": "", "movies.field_24": "", "movies.field_25": "", "movies.field_26": "", "movies.field_27": "", "movies.field_28": "", "movies.field_29": "", "movies.field_30": "", "movies.field_31": "", "movies.field_32": "", "movies.field_33": "", "movies.field_34": "", "movies.field_35": "", "movies.field_36": "", "movies.field_37": "", "movies.field_38": "", "movies.field_39": "", "movies.field_40": "", "movies.field_41": "", "movies.field_42": "", "movies.field_43": "", "movies.field_44": "", "movies.nullyear": "", "movies.age": "", "movies.ethnic": "", "movies.sex": "", "movies.area": "", "movies.count": "", "movies.ids": "" }, "24": { "movies.id": 24, "movies.ts": "2025-01-10 14:09:09", "movies.nullid": 64, "movies.title": "I'll Fly Away: Further Testimonies from the Women of York Prison", "movies.author": "Wally Lamb", "movies.author_bio": "

Wally Lamb's books are neither short nor simple; but like a James Patterson of emotions, he pulls readers in and doesn't let go. His affecting novels are marvels of imagination and empathy.

", "movies.authors": "Wally Lamb, I'll Fly Away Contributors", "movies.title_slug": "ill-fly-away", "movies.author_slug": "wally-lamb", "movies.isbn13": 9780061626395, "movies.isbn10": 61626392, "movies.price": "$10.99", "movies.format": "Paperback", "movies.publisher": "HarperCollins Publishers", "movies.pubdate": "October 2008", "movies.edition": "", "movies.subjects": "Penology & Correctional Studies - General & Miscellaneous, Prisons & Prison Life, American Literature Anthologies", "movies.lexile": "", "movies.pages": 288, "movies.dimensions": "5.30 (w) x 7.90 (h) x 0.80 (d)", "movies.overview": "

For several years, Wally Lamb, the author of two of the most beloved novels of our time, has run a writing workshop at the York Correctional Institution, Connecticut's only maximum-security prison for women. Writing, Lamb discovered, was a way for these women to face their fears and failures and begin to imagine better lives. Couldn't Keep It to Myself, a collection of their essays, was published in 2003 to great critical acclaim. With I'll Fly Away, Lamb offers readers a new volume of intimate pieces from the York workshop. Startling, heartbreaking, and inspiring, these stories are as varied as the individuals who wrote them, but each illuminates an important core truth: that a life can be altered through self-awareness and the power of the written word.

", "movies.excerpt": "I'll Fly Away
\nFurther Testimonies from the Women of York Prison \n

Chapter One

Florida Memories

By Bonnie Jean Foreshaw

It's Thursday morning at 6:00 A.M., and we two have just arrived at the open-air flea market, the largest in south Florida. I'm an apprentice shopper and my teacher is my Aunt Mandy. Later this morning, the market will be hot and crowded—alive with music, laughter, gossip, and bartering about the price of everything from necklaces to nectarines. But at the moment, it's cool and quiet. Our focus is fish.

\"Pay close attention to the eyes of the fish,\" Aunt Mandy instructs as we walk from stall to stall. \"If the eyes are clear, not cloudy, and the color of the skin's not fading, then the fish is fresh.\" Auntie's dressed for shopping in a pink sleeveless blouse, burgundy pedal pushers, Italian sandals, and a white sun visor. I'm wearing shorts, a T-shirt, and rubber flip-flops. I am tall for my age, and starting to get the kind of shape men take a second look at. My glasses take up half my face. \"But you have to shop with your finger and your nose, too, not just your eyes,\" Auntie instructs. \"Poke the fish gently near its fin. If it leaves a dent, then you don't want it. If it doesn't, it's probably part of the morning's catch. And listen to me, Jeannie. Fresh fish never smells foul.\"

We stop at one of the stalls where the fish are lined up, one against the other, on a bed of ice. The fish man approaches us. He's handsome—black hair, hazel eyes, tank top and cut-off jeans. \"May I help you, ma'am?\" I watch him take in Aunt Mandy's curves, her green eyes andhoney-colored complexion. I might as well be invisible.

\"Well, maybe you can,\" Auntie says. \"Oh, by the way, I'm Mandy and this is my niece, Jeannie. Now what's your name?\"

\"I'm Ricardo,\" the fish man says. He's sucking in his stomach, and his feet are moving up and down like he's trying to stretch his height. \"It's nice to meet you, Mandy.\"

\"Nice to meet you, too. Now tell me, Ricardo, how much you want for these five yellowtails?\"

\"Well, let's see. They're seventy-five cents apiece, so that's a total of . . .\"

He stops to watch Auntie pass her fingers through her shoulder-length hair. It's salt-and-pepper-colored, but Mandy's still got it. \"Uh, three seventy-five.\" \"Oh,\" Auntie says, half-shocked and half-disappointed. \"That fellow three stalls down says he's selling his yellowtails for fifty cents each. So unless we can work out a deal . . .\"

The smile drops off of Mr. Ricardo's face, but Auntie's smile returns. Her gold tooth is glimmering. She shifts her weight, puts her hand on her hip.

\"Mandy, it's a deal,\" Ricardo says. \"Five yellowtails for two-fifty. That's a dollar twenty-five cut I'm giving you.\"

\"Which I appreciate,\" Auntie says. \"And look at it this way: you've just gained yourself a faithful customer. Now, tell me. How much you selling those red snappers for? If I can get them for the same price as the yellowtails, I'll buy some of them, too. And conch.\"

I stand there looking from one to the other. Auntie touches the small gold cross at her throat. She fingers her earring. I can tell Mr. Ricardo is only pretending to do the math in his head. \"Okay,\" he finally says. \"Sold.\"

Auntie pays for the fish and conch, thanks him, and we walk away. A few stalls down from Mr. Ricardo's, she turns to me. \"Okay, now,\" she says. \"Show me a fresh fish.\"

I go up and down the row, looking each fish in the eye, then pick one up by its tail. I turn it, look at its other eye, study its coloration. When I press my finger against its head, near the fin, there's no indentation. \"This one.\"

Her look is serious. \"You think this fish is fresh?\"

I hesitate. \"Yes.\"

Aunt Mandy flashes me her gold-toothed smile. \"Well, Jeannie, now you know how to pick fresh fish.\"

I'm excited to have passed the test, but I've been wondering something. \"Auntie?\" I say. \"I don't remember going to any other fish stalls before we went to Mr. Ricardo's.\"

She laughs. \"You and I knew that, but Ricardo didn't. It's one of the tricks of the trade when you shop at the flea market. But bear in mind, Ricardo would rather make a sale than not sell. If he has fish left at the end of the day, that's a loss and a waste for him. So we were doing him a favor. Now, come on. Let's cross the street and I'll teach you how to pick out vegetables and fruit.\"

We meander among the tomatoes and squashes, the potatoes and mangoes and plums. Shopping for fresh produce is a matter of looking and smelling, but mostly of feeling, Auntie says. \"Fruits and vegetables can get damaged by cold weather, the way they're packed, or how far they've traveled to get to the market. If the skin is firm, that means it's fresh. If it's loose, then it isn't. And always check for bruises.\"

Although I'm listening to my aunt, it's the peaches in the stall to my right that have my attention. They're big and beautiful, golden yellow with blushes of pink, and their aroma makes my mouth juice up. I'm thinking about how I might get myself one of those peaches.

\"Pick us out some bananas,\" Auntie says. It's test number two.

My eyes pass over several bunches before I pick one up. I check each banana, one by one, then walk over to Auntie, who is examining pears. \"These are nice, firm, and yellow,\" I say, handing her the bunch I've chosen. \"Tight skin, no bruises.\"

She twists the bunch back and forth, then nods her approval. \"Good job,\" she says. Smiling all over myself, I decide to seize the moment. \"Auntie, may I get a few peaches?\"

\nI'll Fly Away
\nFurther Testimonies from the Women of York Prison. Copyright © by Wally Lamb. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.", "movies.synopsis": "

For several years, Wally Lamb, the author of two of the most beloved novels of our time, has run a writing workshop at the York Correctional Institution, Connecticut's only maximum-security prison for women. Writing, Lamb discovered, was a way for these women to face their fears and failures and begin to imagine better lives. Couldn't Keep It to Myself, a collection of their essays, was published in 2003 to great critical acclaim. With I'll Fly Away, Lamb offers readers a new volume of intimate pieces from the York workshop. Startling, heartbreaking, and inspiring, these stories are as varied as the individuals who wrote them, but each illuminates an important core truth: that a life can be altered through self-awareness and the power of the written word.

Booklist

“Lamb . . . continues to offer readers an intimate look at women struggling to maintain their humanity.”

", "movies.toc": "
In Remembrance     vii
Acknowledgments     ix
Revisions and Corrections   Wally Lamb     1
When I Was a Child...
Florida Memories   Bonnie Jean Foreshaw     13
Kidnapped!   Robin Ledbetter     19
Shhh, Don't Tell   Deborah Ranger     26
In the Mood \"Savannah\"     37
Tinker Bell   Brendalis Medina     39
One Saturday Morning   Chasity C. West     47
Gifts My Family Gave Me
The Captain   Kathleen Wyatt     57
A Brother's Gift   Jennifer Rich     63
The Rainbow Ring   Carmen Ramos     64
Pictures of a Daughter, Viewed in Prison   Christina MacNaughton     67
Under-Where?   Lynne M. Friend     68
Why I Write   Careen Jennings     75
Lavender and Vanilla   Kimberly Walker     77
A Gift   Robin Ledbetter     78
Broken Dolls and Marionettes
Broken Doll   Lynda Gardner     85
\"No\" Is Not Just a Word   Christina MacNaughton     89
Wishes   Charissa Willette     92
The Marionette   Lynne M. Friend     104
Falling   Robin Ledbetter     114
Crime and Punishment
Lost and Found   Roberta Schwartz     119
The Chase   Brendalis Medina     151
Prom Queen   Jennifer Rich     159
Down on the Farm   Kelly Donnelly     166
Big Girl Jail   Robin Ledbetter     168
Wasted Time   Lisa White     176
Serpents   Robin Ledbetter     177
The Lights Are Flickering, Again   Susan Budlong Cole     179
Just Another Death   Christina MacNaughton     182
I'll Fly Away
My Three Fates   Chasity C. West     191
Dance of the Willow   Kelly Donnelly     202
I Won't Burn Alone   Brendalis Medina     203
Seasons' Rhythms   Kelly Donnelly     211
Flight of the Bumblebee   Kathleen Wyatt     213
Reawakening Through Nature: A Prison Reflection   Barbara Parsons     215
Contributors     241
Facilitators' Biographical Statements     253", "movies.editorial_reviews": "

From Barnes & Noble

In 1998, Wally Lamb began teaching writing to female convicts at Connecticut's York Correctional Institute. It was not for lack of a résumé; he was already an acclaimed novelist (I Know This Much Is True; She's Come Undone) and had been teaching high school for a quarter century. York was something different. After adjusting to his new constituency, Lamb realized that his students had disarming, often frightening stories to tell. In 2003, he published an anthology of these testimonies, the PEN/Newman's Own First Amendment Award-winning Couldn't Keep It to Myself. This follow-up collection is just as bracing and profound.\n\n

\n\n

Booklist

\"Lamb . . . continues to offer readers an intimate look at women struggling to maintain their humanity.\"\n\n

Library Journal

Novelist Lamb's (I Know This Much Is True) second collection of writing by the students in his writing workshop at the maximum-security York Correctional Institution in Connecticut, after Couldn't Keep It to Myself(2003), also focuses on the inspiring and raw emotions of women sharing the good and bad memories that shaped them. The 20 women whose work is featured here-18 inmates and two of Lamb's cofacilitators-show that writing is not just a way of capturing their most private thoughts and gripping emotions (e.g., hope, despair, courage), but also a powerful tool to foster hope and healing. They write from the heart in works ranging from poems to essays to short stories; each vignette is more compelling than the one before it. Highly recommended for academic and public libraries.
\n—Susan McClellan

\n\n\n

\n\n

Kirkus Reviews

The second accomplished collection of writings from women incarcerated in Connecticut's York Correctional Institution, edited again by bestselling novelist Lamb (Couldn't Keep It to Myself: Testimonies from Our Imprisoned Sisters, 2003, etc.). One would have thought the first volume, with its probing examinations of lives run amok, would have convinced prison authorities of the value of a writing program in which prisoners focus and take account. But the prison bureaucracy tried to shut it down, writes an incredulous and furious Lamb, and they confiscated the prisoners' material. That particular draconian administration was replaced with a more enlightened group, Lamb reports, one that allowed for the rehabilitative value of writing. These works radiate what Lamb saw as the program's critical mission: to give the women wings \"to hover above the confounding maze of their lives, and from that perspective . . . to see the patterns and dead ends of their past, and a way out.\" Some of the stories are rueful, others bitter, but all bite, even-perhaps especially-when they are gentle. None are self-pitying, but none shy away from speaking directly to the gross cruelties so often inflicted on their early years or young marriages. Each story, no matter how grim or gritty, shows polish, and the women display a wide array of emotions: unbridled anger, innocence, hope, resigned acceptance. While a few of the stories speak of angels who touched the women's lives, most display open wounds that are continuing to be healed by the cathartic power of words. Writing as an act of self-realization and liberation and, not incidentally, an indictment of the penal system.\n\n

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Bill McKibben is the author of ten books, including The End of Nature, The Age of Missing Information, and Enough: Staying Human in an Engineered Age. A former staff writer for The New Yorker, he writes regularly for Harper’s, The Atlantic Monthly, and The New York Review of Books, among other publications. He is a scholar in residence at Middlebury College and lives in Vermont with his wife, the writer Sue Halpern, and their daughter.

", "movies.authors": "Bill McKibben (Editor), Al Gore", "movies.title_slug": "american-earth", "movies.author_slug": "bill-mckibben", "movies.isbn13": 9781598530209, "movies.isbn10": 1598530208, "movies.price": "$29.13", "movies.format": "Hardcover", "movies.publisher": "Library of America", "movies.pubdate": "April 2008", "movies.edition": "", "movies.subjects": "Natural Literature & History, Literature Anthologies - General & Miscellaneous, American Literature Anthologies", "movies.lexile": "", "movies.pages": 900, "movies.dimensions": "5.12 (w) x 8.18 (h) x 2.10 (d)", "movies.overview": "

As America and the world grapple with the consequences of global environmental change, writer and activist Bill McKibben offers this unprecedented, provocative, and timely anthology, gathering the best and most significant American environmental writing from the last two centuries.

Classics of the environmental imagination-the essays of Henry David Thoreau, John Muir, and John Burroughs; Aldo Leopold's A Sand County Almanac; Rachel Carson's Silent Spring'are set against the inspiring story of an emerging activist movement, as revealed by newly uncovered reports of pioneering campaigns for conservation, passages from landmark legal opinions and legislation, and searing protest speeches. Here are some of America's greatest and most impassioned writers, taking a turn toward nature and recognizing the fragility of our situation on earth and the urgency of the search for a sustainable way of life. Thought-provoking essays on overpopulation, consumerism, energy policy, and the nature of 'nature' join ecologists' memoirs and intimate sketches of the habitats of endangered species. The anthology includes a detailed chronology of the environmental movement and American environmental history, as well as an 80-page color portfolio of illustrations.

", "movies.excerpt": "AMERICAN EARTH Environmental Writing Since Thoreau
\n By Bill McKibben
\n THE LIBRARY OF AMERICA Copyright © 2008 Literary Classics of the United States, New York, NY.
\n All right reserved.
\n ISBN: 978-1-59853-020-9
\n
\n
\n
\n Chapter One HENRY DAVID THOREAU \n

Henry David Thoreau (1817-1862) was born, grew up, lived out his life, and died in Concord, Massachusetts. He studied at Harvard from 1833 to 1837, then signed on as a teacher at Concord Academy but was dismissed for refusing to whip students. He and his brother John opened an elementary school in 1838, where, according to some authorities, they invented the idea of the field trip. John became sick in 1841 and the brothers closed the school; Henry went to live with Ralph Waldo Emerson, beginning a long friendship with him and with the other members of the Transcendental Club, among them Bronson Alcott and Margaret Fuller. The other transcendentalists experimented with communes like Brook Farm, but Thoreau was more solitary, and the most important years in his life began in 1845 when he took up residence in a small cabin he'd built on the shore of Walden Pond a short walk from town. He spent two years, two months, and two days there, experimenting with simplifying his life. Thorean's isolation at Walden wasn't absolute or deliberately ascetic-he often returned to town to see friends and eat meals, had a steady stream of visitors (often too steady for his taste), and at one point engaged in a political protest, spending a night in Concord jail for his refusal to pay his poll tax. But it was notably productive: he returned to town with the draft of one book (A Week on the Concord and Merrimack Rivers) and the notes that he would spend the next six years turning into Walden (1854), perhaps the most remarkable book in the American canon. As dense as scripture, crowded with aphorism, Walden is full of enough ideas for a score of ordinary books. But it has lived as long and as fully as any other writing of its vintage and inspired all the best kinds of people: both Mahatma Gandhi and Martin Luther King Jr. claimed him as a major influence. Thoreau suffered from tuberculosis contracted during his college years: his condition worsened beginning in 1859, and he spent his last years revising his accounts of the Maine woods and other works. As he neared death his aunt Louisa asked him if he had made his peace with God. \"I did not know we had ever quarreled,\" he said. He died at the age of 44.

Picking a few fragments from his writings is an impossible task: an anthology of American environmental writing might well be one-third Thoreau. Here are a few entries from his copious journals, and then the description from Walden of the building of the famous cabin. \"Huckleberries,\" a late essay or lecture-text, shows the modern nature essay being born, with a small root giving way to a luxuriant growth of thought and speculation.

from Journals

Oct. 24th 1837.

The Mould our Deeds Leave.

Every part of nature teaches that the passing away of one life is the making room for another. The oak dies down to the ground, leaving within its rind a rich virgin mould, which will impart a vigorous life to an infant forest - - The pine leaves a sandy and sterile soil-the harder woods a strong and fruitful mould. - -

So this constant abrasion and decay makes the soil of my future growth. As I live now so shall I reap. If I grow pines and birches, my virgin mould will not sustain the oak, but pines and birches, or, perchance, weeds and brambles, will constitute my second growth. - -

March 6th 1838

- - How can a man sit down and quietly pare his nails, while the earth goes gyrating ahead amid such a din of sphere music, whirling him along about her axis some twenty four thousand miles between sun and sun? but mainly in a circle some two millions of miles actual progress. And then such a hurly-burly on the surface-wind always blowing-now a zephyr, now a hurricane-tides never idle, ever fluctuating, no rest for Niagara, but perpetual ran-tan on those limestone rocks-and then that summer simmering which our ears are used to-which would otherwise be christened confusion worse confounded, but is now ironically called \"silence audible\"-and above all the incessant tinkering named hum of industry-the hurrying to and fro and confused jabbering of men-Can man do less than get up and shake himself?

April 24th 1838.

Steam ships

-Men have been contriving new means and modes of motion-Steam ships have been westering during these late days and nights on the Atlantic waves-the fuglers of a new evolution to this generation - - Meanwhile plants spring silently by the brook sides-and the grim woods wave indifferent-the earth emits no howl pot on fire simmers and seethes and men go about their business. - -

Saturday March 19th 1842

When I walk in the fields of Concord and meditate on the destiny of this prosperous slip of the Saxon family-the unexhausted energies of this new country-I forget that this which is now Concord was once Musketaquid and that the American race has had its destiny also. Everywhere in the fields-in the corn and grain land-the earth is strewn with the relics of a race which has vanished as completely as if trodden in with the earth.

I find it good to remember the eternity behind me as well as the eternity before. Where ever I go I tread in the tracks of the Indian-I pick up the bolt which he has but just dropped at my feet. And if I consider destiny I am on his trail. I scatter his hearth stones with my feet, and pick out of the embers of his fire the simple but enduring implements of the wigwam and the chace-In planting my corn in the same furrow which yielded its increase to his support so long-I displace some memorial of him.

I have been walking this afternoon over a pleasant field planted with winter rye-near the house. Where this strange people once had their dwelling place. Another species of mortal men but little less wild to me than the musquash they hunted-Strange spirits-daemons-whose eyes could never meet mine. With another nature-and another fate than mine- The crows flew over the edge of the woods, and wheeling over my head seemed to rebuke-as dark winged spirits more akin to the Indian than I. Perhaps only the present disguise of the Indian- If the new has a meaning so has the old.

Nature has her russet hues as well as green-Indeed our eye splits on every object, and we can as well take one path as the other-If I consider its history it is old-if its destiny it is new-I may see a part of an object or the whole-I will not be imposed on and think nature is old, because the season is advanced I will study the botany of the mosses and fungi on the decayed-and remember that decayed wood is not old, but has just begun to be what it is. I need not think of the pine almond or the acorn and sapling when I meet the fallen pine or oak-more than of the generations of pines and oaks which have fed the young tree.

The new blade of the corn-the third leaf of the melon-these are not green but gray with time, but sere in respect of time.

September 12, 1851

2 PM To the Three Friends' Hill beyond Flints Pond-via RR. RWEs Wood Path S side Walden-Geo Heywood's Cleared Lot & Smith's orchards-return via E of Flints' P via Goose P & my old home to RR-

I go to Flints P. for the sake of the Mt view from the hill beyond looking over Concord. I have thought it the best especially in the winter which I can get in this neighborhood. It is worth the while to see the Mts in the horizon once a day. I have thus seen some earth which corresponds to my least earthly & trivial-to my most heaven-ward looking thoughts-The earth seen through an azure an etherial veil. They are the natural temples elevated brows of the earth-looking at which the thoughts of the beholder are naturally elevated and etherialized. I wish to see the earth through the medium of much air or heaven-for there is no paint like the air. Mts thus seen are worthy of worship. I go to Flints' Pond also to see a rippling lake & a reedy-island in its midst-Reed Island.

A man should feed his senses with the best that the land affords

At the entrance to the Deep Cut I heard the telegraph wire vibrating like an AÆolian Harp. It reminded me suddenly-reservedly with a beautiful paucity of communication-even silently, such was its effect on my thoughts-It reminded me, I say, with a certain pathetic moderation-of what finer & deeper stirrings I was susceptible-which grandly set all argument & dispute aside- -a triumphant though transient exhibition of the truth. It told me by the faintest imaginable strain-it told me by the finest strain that a human ear can hear-yet conclusively & past all refutation-that there were higher infinitely higher plains of life-which it behoved me never to forget. As I was entering the Deep Cut the wind which was conveying a message to me from heaven dropt it on the wire of the telegraph which it vibrated as it past. I instantly sat down on a stone at the foot of the telegraph pole-& attended to the communication. It merely said \"Bear in mind, Child & never for an instant forget-that there are higher plains infinitely higher plains of life than this thou art now travelling on. Know that the goal is distant & is upward and is worthy all your life's efforts to attain to.\" And then it ceased and though I sat some minutes longer I heard nothing more.

There is every variety & degree of inspiration from mere fullness of life to the most rapt mood. A human soul is played on even as this wire-which now vibrates slowly & gently so that the passer can hardly hear it & anon the sound swells & vibrates with such intensity as if it would rend the wire-as far as the elasticity & tension of the wire permits-and now it dies away and is silent-& though the breeze continues to sweep over it, no strain comes from it-& the traveller hearkens in vain. It is no small gain to have this wire stretched through Concord though there may be no Office here. Thus I make my own use of the telegraph-without consulting the Directors-like the sparrows which I perceive use it extensively for a perch.

Shall I not go to this office to hear if there is any communication for me-as steadily as to the Post office in the village?

Tuesday Dec 30th

Mem. Go to the Deep Cut. The flies now crawl forth from the crevices all covered with dust, dreaming of summer-without life or energy enough to clean their wings

This afternoon being on fair Haven Hill I heard the sound of a saw-and soon after from the cliff saw two men sawing down a noble pine beneath about 40 rods off. I resolved to watch it till it fell-the last of a dozen or more which were left when the forest was cut and for 15 years have waved in solitary majesty over the sproutland. I saw them like beavers or insects gnawing at the trunk of this noble tree, the diminutive mannikins with their crosscut saw which could scarcely span it. It towered up a hundred feet as I afterward found by measurement-one of the tallest probably now in the township & straight as an arrow, but slanting a little toward the hill side.-its top seen against the frozen river & the hills of Conantum. I watch closely to see when it begins to move. Now the sawers stop-and with an axe open it a little on the side toward which it leans that it may break the faster. And now their saw goes again-Now surely it is going-it is inclined one quarter of the quadrant, and breathless I expect its crashing fall-But no I was mistaken it has not moved an inch, it stands at the same angle as at first. It is 15 minutes yet to its fall. Still its branches wave in the wind as if it were destined to stand for a century, and the wind soughs through its needles as of yore; it is still a forest tree-the most majestic tree that waves over Musketaquid.-The silvery sheen of the sunlight is reflected from its needles-it still affords an inaccessible crotch for the squirrel's nest not a lichen has forsaken its mastlike stem- -its raking mast-the hill is the hull. Now's the moment the mannikins at its base are fleeing from their crime-they have dropped the guilty saw & axe. How slowly & majestically it starts-as if it were only swayed by a summer breeze and would return without a sigh to its location in the air-& now it fans the hill side with its fall and it lies down to its bed in the valley from which it is never to rise, as softly as a feather, folding its green mantle about it like a warrior-as if tired of standing it embraced the earth with silent joy.-returning its elements to the dust again-but hark! there you only saw-but did not hear-There now comes up a deafening crash to these rocks-advertising you that even trees do not die without a groan. It rushes to embrace the earth, & mingle its elements with the dust. And now all is still once more & forever both to eye & ear.

I went down and measured it. It was about 4 feet in diameter where it was sawed-about 100 feet long. Before I had reached it-the axe-men had already half divested it of its branches. Its gracefully spreading top was a perfect wreck on the hill side as if it had been made of glass-& the tender cones of one years growth upon its summit appealed in vain & too late to the mercy of the chopper. Already he has measured it with his axe-and marked out the mill logs it will make. And the space it occupied in upper air is vacant for the next 2 centuries. It is lumber He has laid waste the air. When the fish hawk in the spring revisits the banks of the Musketaquid, he will circle in vain to find his accustomed perch.-& the henhawk will mourn for the pines lofty enough to protect her brood. A plant which it has taken two centuries to perfect rising by slow stages into the heavens-has this afternoon ceased to exist. Its sapling top had expanded to this January thaw as the forerunner of summers to come. Why does not the village bell sound a knell. I hear no knell tolled-I see no procession of mourners in the streets-or the woodland aisles-The squirrel has leapt to another tree-the hawk has circled further off-& has now settled upon a new eyre but the woodman is preparing to lay his axe at the root of that also.

Dec 31st

The 3d warm day. now overcast and beginning to drizzle. Still it is inspiriting as the brightest weather though the sun surely is not agoing to shine. There is a latent light in the mist-as if there were more electricity than usual in the air. These are warm foggy days in winter which excite us.

It reminds me this thick spring like weather, that 1 have not enough valued and attended to the pure clarity & brilliancy of the winter skies-Consider in what respects the winter sunsets differ from the summer ones. Shall I ever in summer evenings see so celestial a reach of blue sky contrasting with amber as I have seen a few days since-The day sky in winter corresponds for clarity to the night sky in which the stars shine & twinkle so brightly in this latitude.

I am too late perhaps, to see the sand foliage in the deep cut-should have been there day before yesterday-it is now too wet & soft.

(Continues...)

\n Excerpted from AMERICAN EARTH by Bill McKibben Copyright © 2008 by Literary Classics of the United States, New York, NY.. Excerpted by permission.
\n All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
\nExcerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
\n

", "movies.synopsis": "

Classics of the environmental imagination—the essays of Henry David Thoreau, John Muir, and John Burroughs; Aldo Leopold's A Sand County Almanac; Rachel Carson's Silent Spring—are set against the inspiring story of an emerging activist movement, as revealed by newly uncovered reports of pioneering campaigns for conservation, passages from landmark legal opinions and legislation, and searing protest speeches. Here are some of America's greatest and most impassioned writers, taking a turn toward nature and recognizing the fragility of our situation on earth and the urgency of the search for a sustainable way of life. Thought-provoking essays on overpopulation, consumerism, energy policy, and the nature of “nature” join ecologists' memoirs and intimate sketches of the habitats of endangered species. The anthology includes a detailed chronology of the environmental movement and American environmental history, as well as an 80-page color portfolio of illustrations.

The Washington Post - Gregory McNamee

What truly sets the anthology apart is not the mix of the obscure and the familiar but McKibben's habit of enlisting voices whom we are not accustomed to thinking of as environmentalists or ecologists. I'd be willing to bet that this is the first work of nature writing to feature the drawings of R. Crumb, of Zap Comix fame, alongside lyrics by Marvin Gaye…Well selected, full of surprises and informed by McKibben's thoughtful commentary, American Earth is the first anthology of American nature writing to come close to the standard Thomas Lyon set two decades ago with \"This Incomperable Lande\": A Book of American Nature Writing. Ours is an incomparable land indeed, and McKibben's collection is a welcome reminder.

", "movies.toc": "Contents Foreword, by Al Gore....................xvii
Introduction....................xxi
Henry David Thoreau from Journals....................2
from Walden; or, Life in the Woods....................9
from Huckleberries....................26
George Catlin from Letters and Notes on the Manners, Customs, and Condition of the North American Indians....................37
Lydia Huntley Sigourney Fallen Forests....................46
Susan Fenimore Cooper from Rural Hours....................48
Table Rock Album....................59
Walt Whitman from Leaves of Grass George Perkins Marsh from Man and Nature....................71
P. T. Barnum from The Humbugs of the World....................81
John Muir from A Thousand-Mile Walk to the Gulf....................85
A Wind-Storm in the Forests....................89
from My First Summer in the Sierra....................98
Hetch Hetchy Valley....................104
W.H.H. Murray from Adventures in the Wilderness....................113
Frederick Law Olmsted from A Review of Recent Changes, and Changes Which Have Been Projected, in the Plans of the Central Park....................120
J. Sterling Morton About Trees....................126
Theodore Roosevelt To Frank Michler Chapman....................130
To John Burroughs....................131
Speech at Grand Canyon, Arizona, May 6, 1903....................132
Mary Austin The Scavengers....................134
Nathaniel Southgate Shaler from Man and the Earth....................140
John Burroughs The Art of Seeing Things....................146
The Grist of the Gods....................159
Nature NearHome....................168
Gifford Pinchot Prosperity....................173
William T. Hornaday The Bird Tragedy on Laysan Island....................181
Theodore Dreiser A Certain Oil Refinery....................186
Gene Stratton-Porter The Last Passenger Pigeon....................192
Henry Beston Orion Rises on the Dunes....................205
Benton MacKaye The Indigenous and the Metropolitan....................209
J. N. \"Ding\" Darling \"What a few more seasons will do to the ducks\"....................224
Robert Marshall from Wintertrip into New Country....................225
Don Marquis what the ants are saying....................235
Caroline Henderson Letter from the Dust Bowl....................239
Donald Culross Peattie Birds That Are New Yorkers....................245
Robinson Jeffers The Answer....................251
Carmel Point....................252
John Steinbeck from The Grapes of Wrath....................254
Woody Guthrie This Land Is Your Land....................958
Marjory Stoneman Douglas from The Everglades: River of Grass....................260
Aldo Leopold from A Sand County Almanac....................266
Berton Roueché The Fog....................295
Edwin Way Teale The Longest Day....................313
Helen and Scott Nearing from Living the Good Life....................318
Sigurd F. Olson Northern Lights....................323
E. B. White Sootfall and Fallout....................327
Loren Eiseley How Flowers Changed the World....................337
William O. Douglas from My Wilderness: The Pacific West....................348
Dissent in Sierra Club v. Morton....................355
Jane Jacobs from The Death and Life of Great America Cities....................359
Rachel Carson from Silent Spring....................366
Russell Baker The Great Paver....................377
Eliot Porter The Living Canyon....................380
Howard Zahniser from The Wilderness Act of 1964....................392
Lyndon B. Johnson Remarks at the Signing of the Highway Beautification Act of 1965....................395
Kenneth E. Boulding from The Economics of the Coming Spaceship Earth....................399
Lynn White Jr. On the Historical Roots of Our Ecologic Crisis....................405
Edward Abbey Polemic: Industrial Tourism and the National Parks....................413
Paul R. Ehrlich from The Population Bomb....................434
Garrett Hardin from The Tragedy of the Commons....................438
Philip K. Dick from Do Androids Dream of Electric Sheep?....................451
Colin Fletcher A Sample Day in the Kitchen....................454
R. Buckminster Fuller Spaceship Earth....................464
Stephanie Mills Mills College Valedictory Address....................469
Gary Snyder Smokey the Bear Sutra....................473
Covers the Ground....................477
Denis Hayes The Beginning....................480
Joseph Lelyveld Millions Join Earth Day Observances Across the Nation....................484
Joni Mitchell & Marvin Gage Big Yellow Taxi....................490
Mercy Mercy Me (The Ecology)....................491
John McPhee from Encounters with the Archdruid....................493
Friends of the Earth from Only One Earth....................500
Wendell Berry Manifesto: The Mad Farmer Liberation Front....................505
The Making of a Marginal Farm....................507
Preserving Wildness....................516
Annie Dillard Fecundity....................531
Lewis Thomas The World's Biggest Membrane....................550
David R. Brower The Third Planet: Operating Instructions....................555
Amory B. Lovins from Energy Strategy: The Road Not Taken?....................559
N. Scott Momaday A First American Views His Land....................570
Leslie Marmon Silko from Ceremony....................582
R. Crumb A Short History of America....................591
Wes Jackson Outside the Solar Village: One Utopian Farm....................595
Lois Marie Gibbs from Love Canal: My Story....................609
Jonathan Schell from The Fate of the Earth....................622
William Cronon Seasons of Want and Plenty....................632
Alice Walker Everything Is a Human Being....................659
E. O. Wilson Bernhardsdorp....................671
César Chávez Wrath of Grapes Boycott Speech....................690
Barry Lopez A Presentation of Whales....................696
W. S. Merwin Place....................716
Bill McKibben from The End of Nature....................718
Robert D. Bullard from Dumping in Dixie....................725
Mary Oliver The Summer Day....................737
Terry Tempest Williams from Refuge: An Unnatural History of Family and Place....................739
Rick Bass from The Ninemile Wolves....................760
Alan Durning The Dubious Rewards of Consumption....................770
Scott Russell Sanders After the Flood....................781
George B. Schaller from The Last Panda....................790
Ellen Meloy The Flora and Fauna of Las Vegas....................793
Linda Hogan Dwellings....................809
David Abram from The Ecology of Magic....................815
Jack Turner The Song of the White Pelican....................835
Carl Anthony & Renée Soule A Multicultural Approach to Ecopsychology....................849
Al Gore Speech at the Kyoto Climate Change Conference....................855
Richard Nelson from Heart and Blood: Living with Deer in America....................860
David Quammen Planet of Weeds....................874
Janisse Ray from Ecology of a Cracker Childhood....................898
Julia Butterfly Hill from The Legacy of Luna....................907
Calvin B. DeWitt from Inspirations for Sustaining Life on Earth: Greeting Friends in Their Andean Gardens....................920
Sandra Steingraber from Having Faith....................929
Barbara Kingsolver Knowing Our Place....................939
Michael Pollan from The Omnivore's Dilemma....................948
Paul Hawken from Blessed Unrest....................961
Rebecca Solnit The Thoreau Problem....................971
Chronology....................997
Note on the Illustrations....................1005
Sources and Acknowledgments....................1015
Index....................1025
", "movies.editorial_reviews": "

Gregory McNamee

\n\n

Publishers Weekly

In his introduction to this superb anthology, McKibben (The End of Nature) proposes that \"environmental writing is America's most distinctive contribution to the world's literature.\" The collected pieces amply prove the point. Arranged chronologically, McKibben's selection of more than 100 writers includes some of the great early conservationists, such as Henry David Thoreau, John Muir and John Burroughs, and many other eloquent nature writers, including Donald Cultross Peattie, Edwin Way Teale and Henry Beston. The early exponents of national parks and wilderness areas have their say, as do writers who have borne witness to environmental degradation-John Steinbeck and Caroline Henderson on the dust bowl, for example, and Berton Roueché and others who have reported on the effects of toxic pollution. Visionaries like Buckminster Fuller and Amory Lovins are represented, as are a wealth of contemporary activist/writers, among them Barry Lopez, Terry Tempest Williams, Barbara Kingsolver, Michael Pollan, Paul Hawken, and Calvin deWitt, cofounder of the Evangelical Environmental Network. McKibben's trenchant introductions to the pieces sum up each writer's thoughts and form a running commentary on the progress of the conservation movement. The book, being published on Earth Day, can be read as a survey of the literature of American environmentalism, but above all, it should be enjoyed for the sheer beauty of the writing. 80-page color illus, not seen by PW. (Apr. 22 [Earth Day])

School Library Journal

Adult/High School- There have been some excellent collections of nature writing published in recent years (The Norton Anthology of Nature Writing is one fine example), but not until now has there been a definitive anthology of American environmental writing. In this superbly edited volume, McKibben draws a clear distinction between the two. The best of the latter often celebrates nature, but also asks searching questions about the impact of human life on the planet. After a poignant foreword by Al Gore, as well as his own illuminating introduction, McKibben begins with the work of a writer, thinker, and activist ahead of his time, Henry David Thoreau, and ends the volume with Rebecca Solnit's essay, \"The Thoreau Problem.\" She notes that many people think of Thoreau only as a man alone observing nature, but the author of \"Civil Disobedience,\" before enjoying his day of huckleberry picking, spent a night in jail rather than pay taxes to a government guilty of ignoring the higher laws of nature. This vast and varied collection, arranged chronologically, includes many seminal names, such as John Muir, Rachel Carson, and Wendell Berry, and some that are less well known or unexpected, like Benton MacKaye, Caroline Henderson, P. T. Barnum, and Philip K. Dick. Most of the selections derive from longer prose works, but there is also a smattering of poems, song lyrics, and cartoons. Although the heft of the volume might scare away some teens, others may realize that they could easily read bits and pieces, and that they would benefit greatly by any amount of time spent in these pages. Numerous photographs, many in full color, are included.-Robert Saunderson, Berkeley Public Library,CA

\n\n\n

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One of our most popular, respected, and controversial literary critics, Yale University professor Harold Bloom s books about, variously, Shakespeare, the Bible, and the classic literature are as erudite as they are accessible.

", "movies.authors": "Harold Bloom", "movies.title_slug": "best-poems-of-the-english-language", "movies.author_slug": "harold-bloom", "movies.isbn13": 9780060540425, "movies.isbn10": 60540427, "movies.price": "$15.79", "movies.format": "Paperback", "movies.publisher": "HarperCollins Publishers", "movies.pubdate": "August 2007", "movies.edition": "Reprint", "movies.subjects": "Poetry, American Literature Anthologies, Anthologies, English, Irish, & Scottish Poetry", "movies.lexile": "", "movies.pages": 1008, "movies.dimensions": "6.10 (w) x 9.20 (h) x 1.80 (d)", "movies.overview": "

This comprehensive anthology attempts to give the common reader possession of six centuries of great British and American poetry. The book features a large introductory essay by Harold Bloom called \"The Art of Reading Poetry,\" which presents his critical reflections of more than half a century devoted to the reading, teaching, and writing about the literary achievement he loves most. In the case of all major poets in the language, this volume offers either the entire range of what is most valuable in their work, or vital selections that illuminate each figure's contribution. There are also headnotes by Harold Bloom to every poet in the volume as well as to the most important individual poems. Much more than any other anthology ever gathered, this book provides readers who desire the pleasures of a sublime art with very nearly everything they need in a single volume. It also is regarded as his final meditation upon all those who have formed his mind.

", "movies.excerpt": "The Best Poems of the English Language
\nFrom Chaucer Through Robert Frost \n

Chapter One

The Art of Reading Poetry

Poetry essentially is figurative language, concentrated so that its form is both expressive and evocative. Figuration is a departure from the literal, and the form of a great poem itself can be a trope (\"turning\") or figure. A common dictionary equivalent for \"figurative language\" is \"metaphorical,\" but a metaphor actually is a highly specific figure, or turning from the literal. Kenneth Burke, a profound student of rhetoric, or the language of figures, distinguished four fundamental tropes: irony, synecdoche, metonymy, and metaphor. As Burke tells us, irony commits those who employ it to issues of presence and absence, since they are saying one thing while meaning something so different that it can be the precise opposite. We learn to wince when Hamlet says: \"I humbly thank you\" or its equivalent, since the prince generally is neither humble nor grateful.

We now commonly call synecdoche \"symbol,\" since the figurative substitution of a part for a whole also suggests that incompletion in which something within the poem stands for something outside it. Poets frequently identify more with one trope than with the others. Among major American poets, Robert Frost (despite his mass reputation) favors irony, while Walt Whitman is the great master of synecdoche.

In metonymy, contiguity replaces resemblance, since the name or prime aspect of anything is sufficient to indicate it, provided it is near in space to what serves as substitute. Childe Roland, in Browning's remarkable monologue, is represented at the very end by the \"slug-horn\" ortrumpet upon which he dauntlessly blows: \"Childe Roland to the Dark Tower came.\"

Metaphor proper transfers the ordinary associations of one word to another, as when Hart Crane beautifully writes \"peonies with pony manes,\" enhancing his metaphor by the pun between \"peonies\" and \"pony.\" Or again Crane, most intensely metaphorical of poets, refers to the Brooklyn Bridge's curve as its \"leap,\" and then goes on to call the bridge both harp and altar.

Figurations or tropes create meaning, which could not exist without them, and this making of meaning is largest in authentic poetry, where an excess or overflow emanates from figurative language, and brings about a condition of newness. Owen Barfield's Poetic Diction: A Study in Meaning is one of the best guides to this process, when he traces part of the poetic history of the English word \"ruin.\"

The Latin verb ruo, meaning \"rush\" or \"collapse,\" led to the substantive ruina for what had fallen. Chaucer, equally at home in French and English, helped to domesticate \"ruin\" as \"a falling\":

Min is the ruine of the highe halles,
\n The falling of the towers and of the walles.

One feels the chill of that, the voice being Saturn's or time's in \"The Knight's Tale.\" Chaucer's disciple Edmund Spenser, has the haunting line:

The old ruines of a broken tower

My last selection in this book is Hart Crane's magnificent death ode, \"The Broken Tower,\" in which Spenser's line reverberates. Barfield emphasizes Shakespeare's magnificence in the employment of \"ruin,\" citing \"Bare ruin'd choirs where late the sweet birds sang\" from Sonnet 73, and the description of Cleopatra's effect upon her lover: \"The noble ruin of her magic, Antony.\" I myself find even stronger the blind Gloucester's piercing outcry when he confronts the mad King Lear (IV, VI, 134135):

O ruin'd piece of nature! This great world
\n Shall so wear out to nought.

Once Barfield sets one searching, the figurative power of \"ruined\" seems endless. Worthy of Shakespeare himself is John Donne, in his \"A Nocturnal upon St. Lucy's Day,\" where love resurrects the poet to his ruin:

Study me then, you who shall lovers be
\n At the next world, that is, at the next spring:
\n For I am every dead thing,
\n In whom love wrought new alchemy.
\n For his art did express
\n A quintessence even from nothingness,
\n From dull privations, and lean emptiness
\n He ruined me, and I am re-begot
\n Of absence, darkness, death; things which are not.

Barfield invokes what he rightly calls Milton's \"terrific phrase\": \"Hell saw / Heaven ruining from Heaven,\" and then traces Wordsworth's allusive return to Milton. Rather than add further instances, I note Barfield's insight, that the figurative power of \"ruin\" depends upon restoring its original sense of movement, of rushing toward a collapse. One of the secrets of poetic rhetoric in English is to romance the etonym (as it were), to renew what Walter Pater called the \"finer edges\" of words.

\nThe Best Poems of the English Language
\nFrom Chaucer Through Robert Frost. Copyright © by Harold Bloom. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.", "movies.synopsis": "

", "movies.toc": "", "movies.editorial_reviews": "", "movies.author_ids": 5, "movies.field_1": "", "movies.field_2": "", "movies.field_3": "", "movies.field_4": "", "movies.field_5": "", "movies.field_6": "", "movies.field_7": "", "movies.field_8": "", "movies.field_9": "", "movies.field_10": "", "movies.field_11": "", "movies.field_12": "", "movies.field_13": "", "movies.field_14": "", "movies.field_15": "", "movies.field_16": "", "movies.field_17": "", "movies.field_18": "", "movies.field_19": "", "movies.field_20": "", "movies.field_21": "", "movies.field_22": "", "movies.field_23": "", "movies.field_24": "", "movies.field_25": "", "movies.field_26": "", "movies.field_27": "", "movies.field_28": "", "movies.field_29": "", "movies.field_30": "", "movies.field_31": "", "movies.field_32": "", "movies.field_33": "", "movies.field_34": "", "movies.field_35": "", "movies.field_36": "", "movies.field_37": "", "movies.field_38": "", "movies.field_39": "", "movies.field_40": "", "movies.field_41": "", "movies.field_42": "", "movies.field_43": "", "movies.field_44": "", "movies.nullyear": "", "movies.age": "", "movies.ethnic": "", "movies.sex": "", "movies.area": "", "movies.count": "", "movies.ids": "" }, "27": { "movies.id": 27, "movies.ts": "2025-01-10 14:09:09", "movies.nullid": 67, "movies.title": "Humor Me: An Anthology of Funny Contemporary Writing (Plus Some Great Old Stuff Too)", "movies.author": "Ian Frazier", "movies.author_bio": "

Ian Frazier is the author of many books, including Great Plains, On the Rez, Coyote v. Acme, Dating Your Mom, and, most recently, Travels in Siberia. A frequent contributor to The New Yorker, he has twice won the Thurber Prize for American Humor. He lives in Montclair, New Jersey.

", "movies.authors": "Ian Frazier", "movies.title_slug": "humor-me", "movies.author_slug": "ian-frazier", "movies.isbn13": 9780061728945, "movies.isbn10": 61728942, "movies.price": "$25.99", "movies.format": "Hardcover", "movies.publisher": "HarperCollins Publishers", "movies.pubdate": "May 2010", "movies.edition": "", "movies.subjects": "Humor, General", "movies.lexile": "", "movies.pages": "", "movies.dimensions": "", "movies.overview": "", "movies.excerpt": "", "movies.synopsis": "

Humor Me is a literary cavalcade of contemporary American funnymen—and funnywomen—of the page. Selected by the renowned humor-ist Ian Frazier and featuring more than fifty pieces of the greatest comic writing of our time, the book includes such masters of the form as Roy Blount, Jr., Bruce Jay Friedman, Veronica Geng, Jack Handey, Garrison Keillor, Steve Martin, and Calvin Trillin, as well as work by newer comic stars like Andy Borowitz, Larry Doyle, Simon Rich, George Saunders, and David Sedaris.

The pieces were published in the past thirty years in such popular magazines as The New Yorker, McSweeney's, The Atlantic, National Lampoon, and Outside. But the book also includes a handful of older comic masterpieces that nobody in need of a laugh should ever be without, among them classics by Bret Harte, Elizabeth Bishop, Donald Barthelme, and Mark Twain.

Mary Frosch is also the editor of Coming of Age Around the World (The New Press). As a teacher at The Spence School she designed a world literature curriculum and helped implement the multicultural literature program. She divides her time between New York City and Santa Monica, California. Gary Soto is the author of over a dozen works of fiction and poetry. Winner of numerous prizes, including the 1985 National Book Award and a prize from the Academy of American Poets, Soto lives in Northern California.

", "movies.authors": "Mary Frosch, Gary Soto", "movies.title_slug": "coming-of-age-in-america", "movies.author_slug": "mary-frosch", "movies.isbn13": 9781565841475, "movies.isbn10": 1565841476, "movies.price": "$16.41", "movies.format": "Paperback", "movies.publisher": "New Press, The", "movies.pubdate": "September 2007", "movies.edition": "Reprint", "movies.subjects": "Peoples & Cultures - American Anthologies, Ethnic & Minority Studies - United States", "movies.lexile": "", "movies.pages": 288, "movies.dimensions": "5.58 (w) x 8.28 (h) x 0.73 (d)", "movies.overview": "The acne and ecstasy of adolescence, a multicultural collection of short stories and fiction excerpts that Library Journal calls \"wonderfully diverse from the standard fare.\"
\n
\nBy turns touching and hilarious, the classic Coming of Age in America gathers together writers from fifteen different ethnic groups who, through their fiction, explore the terrain we all traverse as we come of age, no matter our race, ethnicity, gender, or class.
\n
\nWith over twenty short stories and fiction excerpts by noted authors such as Julia Alvarez and Frank Chin, Dorothy Allison and Adam Schwartz, Reginald McNight and Tobias Wolff, Coming of Age in America shows that our common experiences are more binding than our differences are divisive. Since its initial publication in 1994, Coming of Age in America has evolved from a groundbreaking collection of underrepresented voices into a timeless album of unforgettable literature. Its editor, Mary Frosch, has since created a series of celebrated anthologies, including Coming of Age Around the World and the forthcoming Coming of Age in the 21st Century. A wonderfully readable collection, this is a marvelous resource for those looking for stories that illustrate the convergence of cultural experience and literature.", "movies.excerpt": "", "movies.synopsis": "

The acne and ecstasy of adolescence, a multicultural collection of short stories and fiction excerpts that Library Journal calls \"wonderfully diverse from the standard fare.\"

By turns touching and hilarious, the classic Coming of Age in America gathers together writers from fifteen different ethnic groups who, through their fiction, explore the terrain we all traverse as we come of age, no matter our race, ethnicity, gender, or class.

With over twenty short stories and fiction excerpts by noted authors such as Julia Alvarez and Frank Chin, Dorothy Allison and Adam Schwartz, Reginald McNight and Tobias Wolff, Coming of Age in America shows that our common experiences are more binding than our differences are divisive. Since its initial publication in 1994, Coming of Age in America has evolved from a groundbreaking collection of underrepresented voices into a timeless album of unforgettable literature. Its editor, Mary Frosch, has since created a series of celebrated anthologies, including Coming of Age Around the World and the forthcoming Coming of Age in the 21st Century. A wonderfully readable collection, this is a marvelous resource for those looking for stories that illustrate the convergence of cultural experience and literature.

Library Journal

The 20-odd short stories and novel excerpts comprising this book are all previously published works, several from critically acclaimed authors like Tobias Wolff, Paule Marshall, and National Book Award finalist Dorothy Allison. Evocative of triumphs and tribulations we all experience during adolescence, this anthology shares needed perspectives that are wonderfully diverse from the standard fare that young adults are most often encouraged to digest. For a tiny, tempting sampling, try this beautiful description from ``Marigolds,'' Eugenia Collier's award-winning story: ``Memory is an abstract painting-it does not present things as they are but rather as they feel.'' This collection goes one better on Collier's metaphor for memory, presenting the coming-of-age years as they are and as they feel.-Faye A. Chadwell, Univ. of South Carolina Lib., Columbia

", "movies.toc": "

	Foreword
	Preface
	Acknowledgments
	The Jacket	3
	The Neighborhood	7
	The Kind of Light That Shines on Texas	17
	The Body Politic	32
	The Wrong Lunch Line	52
	Jump or Dive	58
	from Bastard Out of Carolina	75
	Where Is It Written?	82
	Summer Water and Shirley	100
	Judgment Day	111
	from The Floating World	122
	Yes, Young Daddy	139
	Going to School	154
	A Spell of Kona Weather	166
	What Means Switch	175
	from This Boy's Life	197
	Eyes and Teeth	212
	A Bag of Oranges	216
	from How the Garcia Girls Lost Their Accents	226
	from Davita's Harp	239
	Marigolds	254
	Suggestions for Further Reading	265
	Biographical Notes	267
	Permissions Acknowledgments	272

", "movies.editorial_reviews": "

Library Journal

", "movies.author_ids": 0, "movies.field_1": "", "movies.field_2": "", "movies.field_3": "", "movies.field_4": "", "movies.field_5": "", "movies.field_6": "", "movies.field_7": "", "movies.field_8": "", "movies.field_9": "", "movies.field_10": "", "movies.field_11": "", "movies.field_12": "", "movies.field_13": "", "movies.field_14": "", "movies.field_15": "", "movies.field_16": "", "movies.field_17": "", "movies.field_18": "", "movies.field_19": "", "movies.field_20": "", "movies.field_21": "", "movies.field_22": "", "movies.field_23": "", "movies.field_24": "", "movies.field_25": "", "movies.field_26": "", "movies.field_27": "", "movies.field_28": "", "movies.field_29": "", "movies.field_30": "", "movies.field_31": "", "movies.field_32": "", "movies.field_33": "", "movies.field_34": "", "movies.field_35": "", "movies.field_36": "", "movies.field_37": "", "movies.field_38": "", "movies.field_39": "", "movies.field_40": "", "movies.field_41": "", "movies.field_42": "", "movies.field_43": "", "movies.field_44": "", "movies.nullyear": "", "movies.age": "", "movies.ethnic": "", "movies.sex": "", "movies.area": "", "movies.count": "", "movies.ids": "" }, "29": { "movies.id": 29, "movies.ts": "2025-01-10 14:09:09", "movies.nullid": 69, "movies.title": "Three African-American Classics: Up from Slavery, The Souls of Black Folk and Narrative of the Life of Frederick Douglass", "movies.author": "Booker T. Washington", "movies.author_bio": "", "movies.authors": "Booker T. Washington, Frederick Douglass, W.E.B. Du Bois, W. E. Du Bois", "movies.title_slug": "three-african-american-classics", "movies.author_slug": "booker-t-washington", "movies.isbn13": 9780486457574, "movies.isbn10": 486457575, "movies.price": "$6.63", "movies.format": "Paperback", "movies.publisher": "Dover Publications", "movies.pubdate": "February 2007", "movies.edition": "", "movies.subjects": "Teachers - General & Miscellaneous - Biography, Slavery - Social Sciences, Civil Rights - Movements & Figures, Historical Biography - United States - 19th Century, Civil Rights - African American History, Abolitionists - Biography, Slavery & Abolitionism", "movies.lexile": "", "movies.pages": 448, "movies.dimensions": "5.20 (w) x 8.20 (h) x 1.00 (d)", "movies.overview": "Essential reading for students of African-American history, this collection represents three highly influential leaders. Washington and Douglass, both born into slavery, recount their rise from bondage to international recognition. Du Bois' landmark essays counsel a more aggressive approach to the civil rights movement.", "movies.excerpt": "", "movies.synopsis": "

Essential reading for students of African-American history, this collection represents three highly influential leaders. Washington and Douglass, both born into slavery, recount their rise from bondage to international recognition. Du Bois' landmark essays counsel a more aggressive approach to the civil rights movement.

Poet, activist, mother, and professor, Nikki Giovanni is a three-time NAACP Image Award winner and the first recipient of the Rosa Parks Woman of Courage Award, and holds the Langston Hughes Medal for Outstanding Poetry. The author of twenty-seven books and a Grammy nominee for The Nikki Giovanni Poetry Collection, she is the University Distinguished Professor/English at Virginia Tech in Blacksburg, Virginia, and an Oprah Living Legend.

", "movies.authors": "Nikki Giovanni", "movies.title_slug": "100-best-african-american-poems-with-cd", "movies.author_slug": "nikki-giovanni", "movies.isbn13": 9781402221118, "movies.isbn10": 1402221118, "movies.price": "$18.39", "movies.format": "Other Format", "movies.publisher": "Sourcebooks, Incorporated", "movies.pubdate": "November 2010", "movies.edition": "", "movies.subjects": "Poetry Anthologies, American Poetry, American Literature Anthologies", "movies.lexile": "", "movies.pages": 256, "movies.dimensions": "8.40 (w) x 11.66 (h) x 0.94 (d)", "movies.overview": "

Hear voices contemporary and classic as selected by New York Times bestselling author Nikki Giovanni

Award-winning poet and writer Nikki Giovanni takes on the impossible task of selecting the 100 best African American works from classic and contemporary poets. Out of necessity, Giovanni admits she cheats a little, selecting a larger, less round number.

The result is this startlingly vibrant collection that spans from historic to modern, from structured to freeform, and reflects the rich roots and visionary future of African American verse. These magnetic poems are an exciting mix of most-loved classics and daring new writing. From Gwendolyn Brooks and Langston Hughes to Tupac Shakur, Natasha Trethewey, and many others, the voice of a culture comes through in this collection, one that is as talented, diverse, and varied as its people.

African American poems are like all other poems: beautiful, loving, provocative, thoughtful, and all those other adjectives I can think of. Poems know no boundaries. They, like all Earth citizens, were born in some country, grew up on some culture, then in their blooming became citizens of the Universe. Poems fly from heart to heart, head to head, to whisper a dream, to share a condolence, to congratulate, and to vow forever. The poems are true. They are translated and they are celebrated. They are sung, they are recited, they are delightful. They are neglected. They are forgotten. They are put away. Even in their fallow periods they sprout images. And fight to be revived. And spring back to life with a bit of sunshine and caring.
\n -Nikki Giovanni

Read

Gwendolyn Brooks
Kwame Alexander
Tupac Shakur
Langston Hughes
Mari Evans
Kevin Young
Asha Bandele
Amiri Baraka

Hear

Ruby Dee
Novella Nelson
Nikki Giovanni
Elizabeth Alexander
Marilyn Nelson
Sonia Sanchez

And many, many, more

Nikki Giovanni is an award-winning poet, writer, and activist. She is the author of more than two dozen books for adults and children, including Bicycles, Quilting the Black-Eyed Pea, Racism 101, Blues: For All the Changes, and Love Poems. Her children's book-plus-audio compilation Hip Hop Speaks to Children was awarded the NAACP Image Award. Her children's book Rosa, a picture-book retelling of the Rosa Parks story, was a Caldecott Honor Book and winner of the Coretta Scott King Award. Both books were New York Times bestsellers. Nikki is a Grammy nominee for her spoken-word album The Nikki Giovanni Poetry Collection and has been nominated for the National Book Award. She has been voted Woman of the Year by Essence, Mademoiselle, and Ladies' Home Journal. She is a University Distinguished Professor at Virginia Tech, where she teaches writing and literature.

", "movies.excerpt": "

From the Introduction:

Poems are like clouds on a June morning or two scoops of chocolate ice cream on a sugar cone in August...something everyone can enjoy. Or maybe poems are your cold feet in December on your lover's back...he is in agony but he lets your feet stay...something like that requires a bit of love. Or could it be that poems are exactly like Santa Claus...the promise, the hope, the excitement of a reward, no matter how small, for a good deed done...or a mean deed from which we refrained. The promise of tomorrow. I don't know. It seems that poems are essential. Like football to Fall, baseball to Spring, tennis to Summer, love Anytime. Something you don't think too much about until it is in Season. Then you deliciously anticipate the perfection. African American poems are like all other poems: beautiful, loving, provocative, thoughtful, and all those other adjectives I can think of.

Poems know no boundaries. They, like all Earth citizens, were born in some country, grew up on some culture, then in their blooming became citizens of the Universe. Poems fly from heart to heart, head to head, to whisper a dream, to share a condolence, to congratulate, and to vow forever. The poems are true. They are translated and they are celebrated. They are sung, they are recited, they are delightful. They are neglected. They are forgotten. They are put away. Even in their fallow periods they sprout images. And fight to be revived. And spring back to life with a bit of sunshine and caring.

These poems, this book, admit I cheated. The idea of this and no more would simply not work for me. I needed these plus those. My mother's favorite poem by Robert Hayden, plus James Weldon Johnson beginning a world that included the longing of the unfree for a loving God. My own fun \"Ego Tripping\" reaching to embrace Margaret Walker's \"For My People.\" \"Train Rides\" and \"Nikki-Rosa\" read by old and loving friends. But also the newness: Novella Nelson lending that sultry voice to the youngsters; Ruby Dee bringing her brilliance to the Gwendolyn Brooks cycle. My Virginia Tech Family wanted to participate: our president Dr. Charles Steger reading \"The Negro Speaks of Rivers,\" recognizing all our souls \"have grown deep like the rivers.\" We celebrate our Hips; we See A Negro Lady at a birthday celebration. Our friends from James Madison University and West Virginia University came to celebrate poetry with us, too. I love these poems so much. The only other thing I would have loved is Caroline Kennedy reading \"A Clean Slate.\"

At the end of a loving day of laughter in Jeff Dalton's studio, when Clinton's makeup had taken forty years off some of us and twenty-five off others, we all came together with one last great cry: the Dean of our College; the Director of Honors; young, old, professional, professor, and recited in one great voice \"We Real Cool.\" Yeah. We are. This book says Poetry Is For Everyone. What a Treat to be Snowbound with The 100* Best African American Poems (*but I cheated).

I did cheat.
\n It's true.
\n But I did not lie.

Nikki Giovanni Poet
\n 12 December 2009

", "movies.synopsis": "

Award-winning poet and writer Nikki Giovanni takes on the difficult task of selecting the 100 best African-American works from classic and contemporary poets.

", "movies.toc": "

Dedication: The Aunt: xxi — Track 1
Mari Evans

1. For My People: 1 — Track 2
Margaret Walker

2. Leroy: 3
Amiri Baraka (LeRoi Jones)

3. Ars Poetica: Nov. 7, 2008: 4
L. Lamar Wilson

4. Ka'Ba: 8
Amiri Baraka (LeRoi Jones)

5. When You Have Forgotten Sunday: The Love Story: 9 — Track 3
Gwendolyn Brooks

6.
The Sermon on the Warpland: 11 — Track 4
Gwendolyn Brooks We Real Cool: 12 — Track 5
Gwendolyn Brooks

7.
Jazz Baby Is It In You: 13
Antoine Harris
\"I Fade Into the Night\": 14
Adam Daniel

8. Old Lem: 15 — Track 6
Sterling A. Brown

9. I Am Accuse of Tending to the Past: 17 — Track 7
Lucille Clifton

10. I Am A Black Woman: 18 — Track 8
Mari Evans

11. Who Can Be Born Black?: 20 — Track 9
Mari Evans

12. Nikka-Rosa:21 — Track 10
Nikki Giovanni

13. Knoxville, Tennessee: 23 — Track 11
Nikki Giovanni

14. The Dry Spell: 24 — Track 12
Kevin Young

15. Those Winter Sundays: 26 — Tracks 13 & 14
Robert Hayden

16. Frederic Douglass: 27
Robert Hayden

17. The Negro Speaks of Rivers: 28 — Track 15
Langston Hughes

18. Choosing the Blues: 29
Angela Jackson

19. My Father's Love Letters: 30
Yusef Komunyakaa

20. The Creation: 32 — Track 16
James Weldon Johnson

21. A Negro Love Song: 36
Paul Laurence Dunbar

22. Lift Every Voice and Sing: 37
James Weldon Johnson

23. Go Down Death: 39
James Weldon Johnson

24. Between Ourselves: 42
Audre Lorde

25. The Union of Two: 45
Haki R. Madhubuti

26. Ballad of Birmingham: 46
Dudley Randall

27. A Poem to Complement Other Poems: 48
Haki R. Madhubuti

28. No Images: 51
Waring Cuney

29. Between the World and Me: 52
Richard Wright

30. Theme for English B: 54
Langston Hughes

31. Harlem Suite
Easy Boogie: 56
Langston Hughes Dream Boogie: 57
Langston Hughes Dream Boogie: Variation: 58
Langston Hughes Harlem: 58
Langston Hughes Good Morning: 59
Langston Hughes Same in Blues: 60
Langston Hughes Island: 61
Langston Hughes

32. The Blue Terrance: 62
Terrance Hayes

33.
The Mother: 64 — Track 17
Gwendolyn Brooks A Bronzeville Mother Loiters in Mississippi. Meanwhile, a Mississippi Mother Burns Bacon: 66
Gwendolyn Brooks — Track 18
The Last Quatrain of the Ballad of Emmett Till: 72
Gwendolyn Brooks A Sunset of the City: 73 — Track 19
Gwendolyn Brooks

34. Things I Carried Coming to the World: 75
Remica L. Bingham

35. Topography: 77
Remica L. Bingham

36. Beneath Me: 79
Jericho Brown

37. Autobiography: 80
Jericho Brown

38. Parable of the Sower: 82
Pamela Sneed

39. Heritage: 86
Countee Cullen

40. Yet I Do Marvel: 91 — Track 20
Countee Cullen

41. Incident: 92 — Track 21
Countee Cullen

42. We Wear the Mask: 93 — Track 22
Paul Laurence Dunbar

43. Triple: 94
Georgia Douglas Johnson

44. The Heart of a Woman: 95 — Track 23
Georgia Douglas Johnson

45. Woman With Flower: 96
Naomi Long Madgett

46. The Idea of Ancestry: 97
Etheridge Knight

47. Don't Say Goodbye to the Porkpie Hat: 99
Larry Neal

48. Cleaning: 105
Camille T. Dungy

49. Boston Year: 106 — Track 24
Elizabeth Alexander

50. She Wears Red: 107
Jackie Warren-Moore

51. Commercial Break: Road-Runner, Uneasy: 110
Tim Seibles

52. Before Making Love: 114
Toi Derricotte

53. Be-Bop: 115
Sterling Plumpp

54. Personal Letter No. 3: 116 — Track 25
Sonia Sanchez

55. Poem at Thirty: 117 — Track 26
Sonia Sanchez

56. A Poem for Sterling Brown: 118 — Track 27
Sonia Sanchez

57. Marchers Headed for Washington, Baltimore, 1963: 120
Remica L. Bingham

58. And Yeah...This is a Love Poem: 123
Nikki Giovanni

59. The Carousel: 123
Gloria C. Oden

60. Only Everything I Own: 127
Patricia Smith

61. Lot's Daughter Dreams of Her Mother: 128 — Track 28
Opal Moore

62. The Girlfriend's Train: 131
Nikky Finney

63. Back from the Arms of Big Mama: 136
Afaa Michael Weaver

64. Mama's Promise: 139 — Track 29
Marilyn Nelson

65. Bop: A Whistling Man: 142
Lyrae Van Clief-Stefanon

66. Homage to My Hips: 144 — Track 30
Lucille Clifton

67. Train Ride: 145
Kwame Dawes

68. Train Rides: 148 — Track 31
Nikki Giovanni

69. A Great Grandaddy Speaks: 153
Lamonte B. Steptoe

70. Eddie Priest's Barbershop & Notary: 154
Kevin Young

71. View of the Library of Congress From Paul Laurence Dunbar High School: 156
Thomas Sayers Ellis

72. Drapery Factory, Gulfport, Mississippi, 1956: 159 — Track 32
Natasha Trethewey

73. Some Kind of Crazy: 161
Major Jackson

74. From: 163
A. Van Jordan

75. Freedom Candy: 165
E. Ethelbert Miller

76. The Supremes: 167
Cornelius Eady

77. Jazz Suite
Nikki Save Me: 169
Michael Scott
\"Nikki, If You Were a Song...\": 170 — Track 33
Kwame Alexander Haiku: 170
DJ Renegade Untitled: 170
Nadir Lasana Bomani
\"I Wish I Could've Seen It...\": 171
Leodis McCray

78. That Some Mo': 174
DJ Renegade

79. Sometime in the Summer There's October: 175
Kwame Alexander

80. Dancing Naked on the Floor: 178
Kwame Alexander

81. Harriet Tubman's Email 2 Master: 180
Truth Thomas

82. A River That Flows Forever: 181 — Track 34
Tupac Shakur

83. The Rose that Grew from Concrete: 181 — Track 34
Tupac Shakur

84. Rochelle: 182
Reuben Jackson

85. All Their Stanzas Look Alike: 183
Thomas Sayers Ellis

86. From the Center to the Edge: 185
Asha Bandele

87. The Subtle Art of Breathing: 187
Asha Bandele

88. Southern University, 1963: 192
Kevin Young

89. Poetry Should Ride the Bus: 195
Ruth Forman

90. Blues for Spring: 197
Colleen J. McElroy

91. The Bicycle Wizard: 198
Sharon Strange

92. Bicycles: 199
Nikki Giovanni

93. A Clean Slate: 200
Fred D'Aguiar

94. Song Through the Wall: 201
Akua Lezli Hope

95. A Seat Saved: 203
Shana Yarborough

96. Sunday Greens: 205
Rita Dove

97. The Untitled Superhero Poem: 206
Tonya Maria Matthews

98. Mercy Killing: 209 — Track 35
Remica L. Bingham

99. If You Saw a Negro Lady: 210
June Jordan

100. Ego Tripping (There May Be a Reason Why): 212 — Track 36
Nikki Giovanni

", "movies.editorial_reviews": "

From Barnes & Noble

In this multimedia anthology, editor Nikki Giovanni brings together the words and sounds of one hundred superlative African American poems from Phillis Wheatley to the present. This book and CD package can be beginning of a lifetime's conversation with inspiring poetry.

\n\n\n

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The author of books and essays about American poetry and fiction and the editor Six American Poets, Joel Conarroe is president of the John Simon Guggenheim Memorial Foundation, which awards fellowships to artists and scholars. He has previously served as chairman of the English department and dean of arts and sciences at the University of Pennsylvania and as executive director fo the Modern Language Association. He has earned degrees from Davidson College, Cornell University, and New York University, and has been awarded honorary doctorates by several institutions.

", "movies.authors": "Joel Conarroe", "movies.title_slug": "six-american-poets", "movies.author_slug": "joel-conarroe", "movies.isbn13": 9780679745259, "movies.isbn10": 679745254, "movies.price": "$12.24", "movies.format": "Paperback", "movies.publisher": "Knopf Doubleday Publishing Group", "movies.pubdate": "December 1993", "movies.edition": "1st Vintage Books ed", "movies.subjects": "Poetry, American Literature Anthologies, Anthologies", "movies.lexile": "", "movies.pages": 320, "movies.dimensions": "5.17 (w) x 7.96 (h) x 0.65 (d)", "movies.overview": "

Here are the most enduring works of six great American poets, collected in a single authoritative volume. From the overflowing pantheism of Walt Whitman to the exquisite precision of Emily Dickinson; from the democratic clarity of William Carlos Williams to the cerebral luxuriance of Wallace Stevens; and from Robert Frost's deceptively homespun dramatic monologues to Langston Hughes's exuberant jazz-age lyrics, this anthology presents the best work of six makers of the modern American poetic tradition. Six American Poets includes 247 poems, among them such famous masterpieces as \"I Hear America Singing,\" \"The Idea of Order at Key West,\" \"The Dance,\" and \"Mending Wall,\" as well as lesser-known works. With perceptive introductory essays by the distinguished scholar Joel Conarroe and selections that capture the distinctive voices and visions of its authors, this volume is an invaluable addition to any poetry library.

", "movies.excerpt": "", "movies.synopsis": "

Here are the most enduring works of six great American poets, collected in a single authoritative volume. From the overflowing pantheism of Walt Whitman to the exquisite precision of Emily Dickinson; from the democratic clarity of William Carlos Williams to the cerebral luxuriance of Wallace Stevens; and from Robert Frost's deceptively homespun dramatic monologues to Langston Hughes's exuberant jazz-age lyrics, this anthology presents the best work of six makers of the modern American poetic tradition. Six American Poets includes 247 poems, among them such famous masterpieces as "I Hear America Singing," "The Idea of Order at Key West," "The Dance," and "Mending Wall," as well as lesser-known works. With perceptive introductory essays by the distinguished scholar Joel Conarroe and selections that capture the distinctive voices and visions of its authors, this volume is an invaluable addition to any poetry library.

Publishers Weekly

A collection of famous and lesser-known poems by Whitman, Dickinson, Williams, Stevens, Frost and Hughes. (Dec.)

", "movies.toc": "", "movies.editorial_reviews": "

Publishers Weekly - Publisher's Weekly\n

A collection of famous and lesser-known poems by Whitman, Dickinson, Williams, Stevens, Frost and Hughes. (Dec.)\n\n

\n\n

Library Journal

Unlike most recent anthologies of American poetry--which, because they are directed largely at an audience of other poets, strive frantically to be as inclusive as possible--Conarroe's selection aims at ``the general reader interested in being introduced, in an unhurried way, to some major voices.'' Selections are from America's greatest and most representative poets: Walt Whitman, Emily Dickinson, Wallace Stevens, William Carlos Williams, Robert Frost, and Langston Hughes. Though one may cavil at particular omissions or inclusions, especially the practice of excerpting Whitman's ``Song of Myself,'' Conarroe's anthology is a superb introduction to the pleasures of poetry for the general reader. The fine introduction and prefaces provide added assistance to those who, starting here, will doubtlessly want to continue ex ploring poetry. Highly recommended. BOMC selection.-- Frank J. Lepkowski, Oakland Univ., Rochester, Mich.\n\n

Sandra M. Gilbert is the author of numerous volumes of criticism and poetry, as well as a memoir. She is coeditor (with Susan Gubar) of The Norton Anthology of Literature by Women. A Distinguished Professor of English emerita at the University of California, Davis, she lives in Berkeley, California.

Susan Gubar (Ph.D. University of Iowa) is a Distinguished Professor at Indiana University, where she has won numerous teaching awards, most recently the Faculty Mentor Award from the Indiana University Graduate and Professional Student Organization. In addition to her critical collaboration with Sandra Gilbert, she is the author of Racechanges: White Skin, Black Face in American Culture (1997), Critical Condition: Feminism at the Turn of the Century (2000), Poetry After Auschwitz: Remembering What One Never Knew (2003), and Rooms of Our Own (2006), and editor of the first annotated edition of Woolf's A Room of One's Own (2005).

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Long the standard teaching anthology, the landmark Norton Anthology of Literature by Women has introduced generations of readers to the rich variety of women’s writing in English.

This book includes both a large source for and section on how to use multicultural literature with students, as well as the latest in research and issues related to the topic. The materials noted in the book are both authentic and non-stereotyped. The book develops techniques that encourage higher thought processes, helping adults evaluate literature to determine authenticity and an understanding of the various cultures.

", "movies.toc": "

1. Introduction to Multicultural Literature

Developing a Study of Multicultural Literature

Availability of High Quality Multicultural Literature

2. African American Literature

Issues Related to African American Literature

Changing Availability of Quality Literature

Authors Who Write and Illustrate African American Literature

Traditional Literature

Historical Nonfiction and Fiction

African American Poetry

Involving Children with African American Literature

3. Native American Literature

Authors Who Write and Illustrate Native American Literature

Issues Related to Native American Literature

Traditional Literature

Historical Nonfiction and Fiction

Native American Poetry

Contemporary Realistic Fiction

Nonfiction Informational Books

Involving Children with Native American Literature

4. Latino Literature

Historical Perspectives

Authors Who Write and Illustrate Latino Literature

Values in Latino Culture

Folklore

Historical Nonfiction and Fiction

Contemporary Realistic Fiction and Nonfiction

Involving Children with Latino Literature

5. Asian Literature

Values That Are Part of the Cultures

Concerns Over Stereotypes in Literature from the Past

Asian Folklore

Early History of the People and the Culture

Poetry

Contemporary Literature with Asian Roots

Involving Children with Asian Literature

Visualizing Chinese Art

Writing Connections with Asian Literature

6. Jewish Literature

What Does It Mean to Be Jewish?

Folklore and Ancient Stories of the Jewish People

Early History of the Jewish People

Applying Knowledge Gained About Jewish Folklore

Years of Emigration and Immigration

The Holocaust in Children's and Young Adult Literature

Jewish Poetry

Contemporary Jewish Literature

Involving Children with Jewish Literature

7. Middle Eastern Literature

Historical Perspectives

Authors Who Write and Illustrate Middle Eastern Literature

Values Identified in the Culture and Literature

Folklore and Ancient Stories from the Middle East

Early History

Contemporary Literature with Middle Eastern Roots

Involving Children with Middle Eastern Literature

Visualizing Middle Eastern Art

Writing Connections with Middle Eastern Literature

Born in San Francisco, Frost moved to New England ten years later upon the death of his father, and in effect remained there the rest of his life, becoming the New Englander par excellence of his age. Yet his early life was not notably successful. Twice interrupted in attempts to secure a college degree, he farmed for a while in New Hampshire, worked as a mill hand, a schoolteacher, a newspaperman. His first poem was published in 1894; but during the next twenty years his work was consistently rejected by American editors.

Finally, discouraged but still determined, Frost went to England in 1912, and there won the support of influential poets and critics, including Ezra Pound. His first two books, A Boy's Will (1913) and North of Boston (1914), were published in London. In 1915 he returned to America. Thereafter his success was unquestioned: he won many honors, including four Pulitzer Prizes for poetry, and became not only the most popular serious poet in the country but one of the most generally respected among fellow writers. Frost's poetic practice was based on what he called \"sentence sounds,\" the natural tones and rhythms of speech cast loosely against standard poetic forms. Conventional as it may seem today, it was a new departure in its time, making Frost a distinctly modern poet. Similarly his combination of Emersonian spiritual aspiration with back-country Yankee pragmatism placed him squarely among his contemporaries, to whom his metaphysically probing Iyrics and narratives, sometimes cynical or playful but often genuinely anguished, spoke with force. These factors, together with his superb poetic gift, make him dominant in the American tradition, a figure with whom younger poets, even the most rebellious, must come to terms.

Complete Poems of Robert Frost. Holt, Rinehart & Winston, 1949 ff.

MENDING WALL

Something there is that doesn't love a wall,
\nThat sends the frozen-ground-swell under it,
\nAnd spills the upper boulders in the sun;
\nAnd makes gaps even two can pass abreast.
\nThe work of hunters is another thing:
\nI have come after them and made repair Where they have left not one stone on a stone,
\nBut they would have the rabbit out of hiding,
\nTo please the yelping dogs. The gaps I mean,
\nNo one has seen them made or heard them made,
\nBut at spring mending-time we find them there.
\nI let my neighbor know beyond the hill;
\nAnd on a day we meet to walk the line And set the wall between us once again.
\nWe keep the wall between us as we go.
\nTo each the boulders that have fallen to each.
\nAnd some are loaves and some so nearly balls We have to use a spell to make them balance:
\n'Stay where you are until our backs are turned!'
\nWe wear our fingers rough with handling them.
\nOh, just another kind of outdoor game,
\nOne on a side. It comes to little more:
\nThere where it is we do not need the wall:
\nHe is all pine and I am apple orchard.
\nMy apple trees will never get across And eat the cones under his pines, I tell him.
\nHe only says, 'Good fences make good neighbors.'
\nSpring is the mischief in me, and I wonder If I could put a notion in his head:
\n'Why do they make good neighbors? Isn't it Where there are cows? But here there are no cows.
\nBefore I built a wall I'd ask to know What I was walling in or walling out,
\nAnd to whom I was like to give offense.
\nSomething there is that doesn't love a wall That wants it down.' I could say 'E1ves' to him,
\nBut it's not elves exactly, and I'd rather He said it for himself. I see him there Bringing a stone grasped firmly by the top In each hand, like an old-stone savage armed.
\nHe moves in darkness as it seems to me,
\nNot of woods only and the shade of trees.
\nHe will not go behind his father's saying,
\nAnd he likes having thought of it so well He says again, 'Good fences make good neighbors.'

CARL SANDBURG (1878-1967)

The son of Swedish immigrants, Sandburg grew up in Galesburg, Ill., a railroad town, where he attended school until he was thirteen, then dropped out and wandered for years through the West and Midwest, working at varied jobs. He served in the Spanish-American War and for a while attended college. Finally he settled in Milwaukee, where he married, became a Socialist and a newspaperman, and began devoting himself seriously to poetry. In 1913 he moved to Chicago. Harriet Monroe, founder of Poetry, gave his work a prominent place in her magazine, where it attracted attention for its robust and Whitmanesque freedom. Two books, Chicago Poetry (1916) and Cornhuskers (1918), assured his reputation. During the twenties and thirties Sandburg toured widely, lecturing, reading his poems, singing and collecting folk songs, playing his guitar. His two collections, The American Songbag (1927) and The New American Songbag (1950), are important contributions to folklore. At the same time he became deeply interested in the life and achievement of Abraham Lincoln, and spent many years in producing a multi-volume biography. In addition his works include several first-rate books for children (the Rootabaga series), novels, autobiographies, screen plays, and much journalism. Sandburg's poetry was scorned during his middle and later life by the European-oriented critics of the time, and in part rightly so; he wrote too much and too facilely. But some of his early poems have a fresh vision and incantatory vigor that remain firm. In style, attitude, and temperament, he was closer to the young poets of today than most of them recognize.

Complete Poems. Harcourt, Brace, 1950.

CHICAGO

Hog Butcher for the World,
\nTool Maker, Stacker of Wheat,
\nPlayer with Railroads and the Nation's Freight Handler; Stormy, husky, brawling,
\nCity of the Big Shoulders:
\nThey tell me you are wicked and I believe them, for I have seen your painted women under the gas lamps hiring the farm boys.
\nAnd they tell me you are crooked and I answer: Yes, it is true I have seen the gunman kill and go free to kill again.
\nAnd they tell me you are brutal and my reply is: On the faces of women and children I have seen the marks of wanton hunger.
\nAnd having answered so I turn once more to those who sneer at this my city, and I give them back the sneer and say to them:
\nCome and show me another city with lifted head singing so proud to be alive and coarse and strong and cunning.
\nFlinging magnetic curses amid the toil of piling job on job, here is a tall bold slugger set vivid against the little soft cities;
\nFierce as a dog with tongue lapping for action, cunning as a savage pitted against the wilderness,
\nBareheaded,
\nShoveling,
\nWrecking,
\nPlanning,
\nBuilding, breaking, rebuilding,
\nUnder the smoke, dust all over his mouth, laughing with white teeth,
\nUnder the terrible burden of destiny laughing as a young man laughs,
\nLaughing even as an ignorant fighter laughs who has never lost a battle,
\nBragging and laughing that under his wrist is the pulse, and under his ribs the heart of the people,
\nLaughing!
\nLaughing the stormy, husky, brawling laughter of Youth, half-naked, sweating, proud to be Hog Butcher, Tool Maker, Stacker of Wheat, Player with Railroads and Freight Handler to the Nation.

WALLACE STEVENS (1879-1955)

Stevens determined, early in life, to create a life-style that would accommodate his first vocation, poetry. The course he chose would have seemed paradoxical to many, but not to him. He studied law, entered the insurance business at Hartford, Conn., and spent a number of years working upward to an executive position and a life of affluence. Consequently his first book, Harmonium (1923), did not appear until he was forty-three years old; but then it made an immediate hit. Many of its poems became favorites: \"Hibiscus on the Sleeping Shores,\" \"Sunday Morning,\" \"The Emperor of Ice-Cream,\" \"Tea at the Palaz of Hoon,\" \"Sea Surface Full of Clouds,\" etc. They were as exotic as their titles; full of tropical imagery and unusual diction, armored in brilliant stylized rhetoric; but despite their ornamentation they dealt with disturbing themes, particularly man's attempt to find, or create, meaning in a universe from which the spiritual rationale had apparently departed. For Stevens, the way lay through aesthetic experience; yet he was never merely willing to substitute art for reality. The real world, he insisted, was the \"necessary angel\" who announced to imaginative man the plenitude of hie. As his books succeeded one another, perceptive readers saw that although the famous stylization of the early poems had moderated, the new work was more exact, better integrated, and more profoundly felt. Indeed some of Stevens's most moving poems, written in his last years, were not published until after his death, in a volume which also contains bis \"Adagia\", brilliant prose aphorisms and philosophical aperçus. No other poetry of the twentieth century has been more consistently, flawlessly individual; none has been more attractive; none has been harder to imitate. Hence the influence of Stevens on younger poets, though pervasive, has been indirect.

The Collected Poems of Wallace Stevens. Knopf, 1954.
\nOpus Posthumous. Ed. Samuel French Morse. Knopf, 1957.
\nThe Necessary Angel. (Essays.) Knopf, 1951.
\nSelected Letters of Wallace Stevens. Ed Holly Stevens. Knopf, 1966.

THE HOUSE WAS QUIET AND THE WORLD WAS CALM

The house was quiet and the world was calm.
\nThe reader became the book; and summer night

Was like the conscious being of the book.
\nThe house was quiet and the world was calm.

The words were spoken as if there was no book,
\nExcept that the reader leaned above the page,

Wanted to lean, wanted much most to be The scholar to whom his book is true, to whom

The summer night is like a perfection of thought.
\nThe house was quiet because it had to be.

The quiet was part of the meaning, part of the mind:
\nThe access of perfection to the page.

And the world was calm. The truth in a calm world,
\nIn which there is no other meaning, itself

Is calm, itself is summer and night, itself Is the reader leasing late and reading there.

\"Mending Wall\" by Robert Frost. From Complete Poems of Robert Frost. Copyright © 1916, 1923 by Holt, Rinehart & Winston, Inc. Copyright © 1936, 1942 by Robert Frost. Copyright © 1964 by Leslie Frost Ballantine. Reprinted by permission of Holt, Rinehart & Winston, Inc.

\"The House Was Quiet and the World Was Calm\" by Wallace Stevens. From The Collected Poems of Wallace Stevens. Copyright © 1942, 1947 by Wallace Stevens. Reprinted by permission of Alfred A. Knopf, Inc.

", "movies.synopsis": "

This famous anthology includes the works of more than 130 major American poets of the modern period--Robert Frost, Paul Goodman, Carl Sandburg and Gwendolyn Brooks among them--along with short biographies of each.

With over 650,000 copies in print, Poems That Touch The Heart is America's most popular collection of inspirational verse.

", "movies.excerpt": "", "movies.synopsis": "", "movies.toc": "", "movies.editorial_reviews": "", "movies.author_ids": 0, "movies.field_1": "", "movies.field_2": "", "movies.field_3": "", "movies.field_4": "", "movies.field_5": "", "movies.field_6": "", "movies.field_7": "", "movies.field_8": "", "movies.field_9": "", "movies.field_10": "", "movies.field_11": "", "movies.field_12": "", "movies.field_13": "", "movies.field_14": "", "movies.field_15": "", "movies.field_16": "", "movies.field_17": "", "movies.field_18": "", "movies.field_19": "", "movies.field_20": "", "movies.field_21": "", "movies.field_22": "", "movies.field_23": "", "movies.field_24": "", "movies.field_25": "", "movies.field_26": "", "movies.field_27": "", "movies.field_28": "", "movies.field_29": "", "movies.field_30": "", "movies.field_31": "", "movies.field_32": "", "movies.field_33": "", "movies.field_34": "", "movies.field_35": "", "movies.field_36": "", "movies.field_37": "", "movies.field_38": "", "movies.field_39": "", "movies.field_40": "", "movies.field_41": "", "movies.field_42": "", "movies.field_43": "", "movies.field_44": "", "movies.nullyear": "", "movies.age": "", "movies.ethnic": "", "movies.sex": "", "movies.area": "", "movies.count": "", "movies.ids": "" }, "36": { "movies.id": 36, "movies.ts": "2025-01-10 14:09:12", "movies.nullid": 76, "movies.title": "I Thought My Father Was God: And Other True Tales from NPR's National Story Project", "movies.author": "Paul Auster", "movies.author_bio": "

Paul Auster's unique novels are often like Chinese boxes, continually opening further to reveal new layers. He approaches his writing as he has approached his life, to an extent: as something of a nomad in a perpetually changing, mysterious landscape.

", "movies.authors": "Paul Auster, Nelly Reifler", "movies.title_slug": "i-thought-my-father-was-god", "movies.author_slug": "paul-auster", "movies.isbn13": 9780312421007, "movies.isbn10": 312421001, "movies.price": "$12.29", "movies.format": "Paperback", "movies.publisher": "Picador", "movies.pubdate": "September 2002", "movies.edition": "REV", "movies.subjects": "Short Story Anthologies, Historical Biography - United States - General & Miscellaneous, World History - General & Miscellaneous, American Literature Anthologies", "movies.lexile": "", "movies.pages": 416, "movies.dimensions": "5.50 (w) x 8.31 (h) x 0.76 (d)", "movies.overview": "

The true-life stories in this unique collection provide \"a window into the American mind and heart\" (The Daily News). One hundred and eighty voices - male and female, young and old, from all walks of life and all over the country - talk intimately to the reader. Combining great humor and pathos this remarkable selection of stories from the thousands submitted to NPR's Weekend All Things Considered National Story Project gives the reader a glimpse of America's soul in all its diversity.

", "movies.excerpt": "

I told the listeners that I was looking for stories. The stories had to be true, and they had to be short, but there would be no restrictions as to subject matter or style. What interested me most, I said, were stories that defied our expectations of the world, anecdotes that revealed the mysterious and unknowable forces at work in our lives, in our family histories, in our minds and bodies, in our souls . . . I was hoping to put together an archive of facts, a museum of American reality.

More than ever, I have come to appreciate how deeply and passionately most of us live within ourselves. Our attachments are ferocious. Our loves overwhelm us, define us, obliterate the boundaries between ourselves and others. —from the Prologue

So there was Mr. Bernhauser yelling at us to get the hell out of his tree, and my father asked him what the problem was. Mr. Bernhauser took a deep breath and launched into a diatribe about thieving kids, breakers of rules, takers of fruit, and monsters in general. I guess my father had had enough, for the next thing he did was shout at Mr. Bernhauser and tell him to drop dead. Mr. Bernhauser stopped screaming, looked at my father, turned bright red, then purple, grabbed his chest, turned gray, and slowly folded to the ground. I thought my father was God. That he could yell at a miserable old man and make him die on command was beyond my comprehension. —Robert Winnie Bonners Ferry, Idaho

", "movies.synopsis": "

A truly captivating collection of 180 real stories written by NPR radio listeners—stories that, in editor Paul Auster's words, defy \"our expectations about the world and reveal[ed] the mysterious and unknowable forces at work in our lives.\"

Annotation © Book News, Inc., Portland, OR

Book Magazine

Two years ago, on National Public Radio's \"Weekend All Things Considered,\" Auster introduced the National Story Project. In an attempt \"to put together an archive of facts, a museum of American reality,\" he welcomed anyone to submit a story, following two rules: it must be true and it must be short. This book collects 179 stories-Auster calls them \"reports from the frontlines of personal experience\"-picked from over 4,000 entries. There is the unassuming yet beautiful portrait of a summer afternoon in a 1960s Manhattan neighborhood; the story of a man given leave after fifteen years in prison to attend his grandmother's funeral; and a homeless woman's account of her living situation. There are impossible coincidences, eerie omens and visions, and tales of love and war and family and death.
Ted Waitt

", "movies.toc": "

	Introduction
	The Chicken	3
	Rascal	4
	The Yellow Butterfly	6
	Python	7
	Pooh	9
	New York Stray	11
	Pork Chop	12
	B	14
	Two Loves	16
	Rabbit Story	17
	Carolina	19
	Andy and the Snake	21
	Blue Skies	24
	Exposure	25
	Vertigo	27
	Star and Chain	33
	Radio Gypsy	34
	A Bicycle Story	36
	Grandmother's China	39
	The Bass	41
	Mother's Watch	44
	Case Closed	46
	The Photo	47
	MS. Found in an Attic	49
	Tempo Primo	50
	A Lesson Not Learned	52
	A Family Christmas	52
	My Rocking Chair	55
	The Unicycle	57
	Moccasins	59
	The Striped Pen	61
	The Doll	63
	The Videotape	66
	The Purse	68
	A Gift of Gold	70
	Rainout	75
	Isolation	76
	Connections	78
	The Wednesday Before Christmas	80
	How My Father Lost His Job	82
	Danny Kowalski	85
	Revenge	87
	Chris	89
	Put Your Little Foot	92
	Aunt Myrtle	95
	American Odyssey	97
	A Plate of Peas	99
	Wash Guilt	101
	Double Sadness	103
	A Picture of Life	106
	Margie	109
	One Thousand Dollars	111
	Taking Leave	114
	Act of Memory	120
	Bicoastal	125
	A Felt Fedora	126
	Man vs. coat	127
	That's Entertainment	128
	The Cake	129
	Riding With Andy	131
	Sophisticated Lady	132
	My First Day in Priest Clothes	133
	Jewish Cowboy	134
	How to Win Friends and Influence People	135
	Your Father Has the Hay Fever	136
	Lee Ann and Holly Ann	139
	Why I Am Antifur	140
	Airport Story	142
	Tears and Flapdoodle	144
	The Club Car	146
	Bronx Cheer	148
	One Day in Higley	150
	Dancing on Seventy-fourth Street	153
	A Conversation with Bill	154
	Greyhounding	156
	A Little Story about New York	159
	My Mistake	162
	No Forwarding Address	164
	The New Girl	165
	The Iceman of Market Street	168
	Me and the Babe	171
	Lives of the Poets	172
	Land of the Lost	173
	Rainbow	175
	Rescued by God	177
	My Story	179
	Small World	183
	Christmas Morning, 1949	186
	Brooklyn Roberts	188
	$1,380 per Night, Double Occupancy	190
	A Shot in the Light	195
	Snow	202
	The Fastest Man in the Union Army	207
	Christmas, 1862	208
	Mount Grappa	210
	Savenay	212
	Fifty Years Later	213
	He Was the Same Age as My Sister	214
	Betting on Uncle Louie	216
	The Ten-Goal Player	218
	The Last Hand	220
	August 1945	222
	One Autumn Afternoon	224
	I Thought My Father Was God	226
	The Celebration	228
	Christmas, 1945	230
	A Trunk Full of Memories	232
	A Walk in the Sun	235
	A Shot in the Dark	237
	Confessions of a Mouseketeer	239
	Forever	241
	Utah, 1975	243
	What If?	247
	The Mysteries of Tortellini	249
	An Involuntary Assistant	251
	The Plot	253
	Mathematical Aphrodisiac	255
	Table for Two	257
	Suzy's Choosy	259
	Top Button	260
	Lace Gloves	262
	Susan's Greetings	263
	Edith	264
	Souls Fly Away	267
	Awaiting Delivery	269
	The Day Paul and I Flew the Kite	270
	A Lesson in Love	272
	Ballerina	274
	The Fortune Cookie	276
	Ashes	279
	Harrisburg	281
	Something to Think About	283
	Good Night	285
	Charlie the Tree Killer	287
	Dead Man's Bluff	288
	My Best Friend	290
	I Didn't Know	291
	Cardiac Arrests	293
	Grandmother's Funeral	294
	High Street	296
	A Failed Execution	297
	The Ghost	299
	Heart Surgery	301
	The Crying Place	302
	Lee	303
	South Dakota	305
	Connecting with Phil	308
	The Letter	310
	Dress Rehearsal	312
	The Anonymous Deciding Factor	315
	4:05 a.m	319
	In the Middle of the Night	320
	Blood	321
	T321 Interpretation of Dreams	322
	Half-Ball	323
	Friday Night	325
	Farrell	327
	\"Jill\"	329
	D-day	330
	The Wall	331
	Heaven	333
	My Father's Dream	335
	Parallel Lives	337
	Anna May	340
	Long Time Gone	342
	Sewing Lessons	347
	Sunday Drive	350
	Mayonnaise Sandwiches	354
	Seaside	355
	After a Long Winter	358
	Martini with a Twist	359
	Nowhere	362
	Where in the World Is Era Rose Rodosta?	363
	Peter	365
	Early Arithmetic	368
	Reflections on a Hubcap	371
	Homeless in Prescott	373
	Being There	376
	An Average Sadness	378
	Index of Authors	381

", "movies.editorial_reviews": "

From Barnes & Noble

Famed author Paul Auster presents 180 of the \"true tales\" from National Public Radio's monthly National Story Project series. The vividly personal biographies come from men and women of every conceivable background and cover more than 40 U.S. states. The accounts are short but powerful; they include everything from amusing misunderstandings to heartbreakingly tragic moments. The result is nothing less than what Auster himself describes as \"an archive of facts, a museum of American reality.\"\n\n

\n\n

From the Publisher

“A powerful book, one in which strangers share with you their darkest secrets, their happiest memories, their fears, their regrets. To read these essays is to look into hearts, to see life from other viewpoints, to live vicariously.” —The Boston Globe

“Unforgettable testimonials of human resilience. Moving and amusing dispatches from across America.” —Us Weekly (starred review)

“Human foibles and frailties, laughter and tears...We are all hearing—and telling—stories all the time, especially now, in these days when life itself seems so fragile and precious. But Paul Auster’s wonderful efforts, choosing these fine stories, have given us a timely and invaluable reminder of what it means to listen—to really listen—to America talking.” —The Times-Picayune (New Orleans)

“Finally, a bathroom book worthy of Pulitzer consideration: the one-to-three-page stories gathered in this astonishing, addictive collection are absolute gems.” —Publishers Weekly (starred review)

“It is difficult to think of another book published this year, and probably any book to be published next year, that is so simple and so obvious, so excellent in intention and so elegant in its execution, and which displays such wisdom and such knowledge of human life in all its varieties. It is also difficult to think of a book that is so stark a reminder that human experience can be horrid and utterly unbelievable, and which therefore answers so precisely to our current needs and circumstances.”—The Guardian (UK)

“As this collection ably proves, we all shape experience into stories, and Auster has done a storyteller’s job himself of grouping these pieces effectively. Highly recommended.” —Library Journal (starred review)

“Like no other book I have read in years, this one restored my belief in Americans and the American experience.” —Philip Levine, Ploughshares

\n\n\n

From The Critics

\n\n

Publishers Weekly

This is a moving collection of stories that realizes the audio format's best possibilities. Culled from a collaboration between novelist Auster (Leviathan) and National Public Radio's All Things Considered, these slices of the American experience are real-life tales from people all over the country on a range of subjects. Since Auster himself selected the stories, it's no surprise that they echo his own approach while reading them: comfortable and emotive, with dexterous use of the power of understatement. Auster's tone is engaging, if a bit mellow, but what comes across more than anything is his genuine concern for the stories themselves and his belief in their merits. He keeps his dramatization to a minimum in order to let those merits shine through, and the recording is sure to leave listeners alternately smiling, nostalgic or melancholic. Even if a particular piece doesn't strike a chord, listeners won't be disappointed for long, as one of the production's finer points is its variety. Each tale lasts only a few minutes, but many of the images linger much longer. And because the stories were originally intended for radio, this is one instance where the audio is preferred over the print version. Based on the Holt hardcover (Forecasts, June 4, 2001). (Sept.) Copyright 2001 Cahners Business Information.\n\n

\n\n

Library Journal

In 2001, when NPR asked Auster to become a regular storyteller on Weekend All Things Considered, he wasn't interested. Then his wife suggested that he ask people to send him their stories to read on the air, and a few months later the National Story Project with was born. From some 4000 stories, Auster has selected 179, grouping them in loose categories: animals, objects, families, slapstick, strangers, war, love, death, dreams, and meditations. All are short, all are true, and they can be sad, hilarious, or both at the same time. In the title piece, Robert Winnie's father tells someone to drop dead and he does! In another, a grandson who has made his grandmother furious hears his grandfather tell him, \"You are my revenge.\" Others tell of impossible coincidences, difficult lives, and wonderful comebacks. As this collection ably proves, we all shape experience into stories, and Auster has done a storyteller's job himself of grouping the pieces effectively. Highly recommended for public libraries. [Previewed in Prepub Alert, LJ 5/1/01.] Mary Paumier Jones, Westminster P.L., Westminster, CO Copyright 2001 Cahners Business Information.\n\n

\n\n

School Library Journal

Adult/High School-Auster was on the verge of saying no to an offer to tell his own stories on the air when a chance remark by his wife changed the complexion and ultimately the direction of a National Public Radio project. She suggested that listeners be invited to make submissions. With that, the remarkable National Story Project was born. The rules were relatively simple; the stories had to be true and they had to be short. Four thousand people sent in their work. After just a few months, it became evident to Auster that too many good stories were coming in and that a book would be necessary to do justice to the project. He chose what he considered to be the best-179 pieces, written by individuals ranging in age from 20 to 90, from all walks of life, and touching on everything from the amazing to the poignant. Readers will turn pages to see if the next story is just as memorable as the one before, and it is. This is a wonderful book about some incredible people, to enjoy and to share with others.-Peggy Bercher, Fairfax County Public Library, VA Copyright 2002 Cahners Business Information.\n\n

\n\n

Kirkus Reviews

A collection of vignettes from the American stew pot, written for broadcast on National Public Radio by men and women from every racial, cultural, and economic stratum. Auster, who proposed the National Story Project in 1999 and has been reading the results on NPR ever since, has received more than 4,000 submissions since the project began. He culled 179 of them for this volume, few more than two or three pages long, some as brief as half a page. Placing no limits on subject matter, Auster asked his listeners only for anecdotes that \"revealed the mysterious and unknowable forces at work in our lives.\" What he got were tales ranging from spectral apparitions in the bedroom to painful custody trials, with a preponderant emphasis on childhood memories. The collection he shaped from this material encompasses the comic and the tragic, the absurd and the surreal, the mundane and the ethereal. The title story, for instance, recounts a bizarre incident from the writer's youth, when his father in a burst of justifiable irritation told a cranky neighbor to \"drop dead\"-and the neighbor did. \"The Chicken,\" which opens the collection, is a provocative six-sentence tale about a bird's adventure on the streets of Portland, Oregon. The volume is divided somewhat arbitrarily into 10 chapters, beginning with \"Animals\" and concluding with \"Meditations\"; \"War,\" \"Death,\" \"Love,\" and \"Slapstick\" fall in between. The prose can be awkward, pretentious, or occasionally elegant, but for the most part it's simple and direct. \"A Shot in the Light,\" for instance, relates the story of a man who was shot four times by a stranded motorist he had befriended. Victim and shooter survive, and the piece shows forgivenesson both sides, but the author makes no attempt to relate the incident to larger religious or political themes. Bedside fodder for general readers and a bonanza for fiction writers looking for core stories to launch a novel. Author tour\n\n

\n\n

Sunday Oklahoman

“A wonderful story collection...and something that would make a great gift for the holidays.”\n\n

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Included are selections from:

James Baldwin Sue Miller Robert Olen Butler Doris Betts Michael Malone Allegra Goodman Alice Elliott Dark Kent Haruf

", "movies.excerpt": "", "movies.synopsis": "

Where do you listen for God? In this new collection of stories and essays, the challenge is to pay attention everywhere. Listening for God 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.

", "movies.toc": "

Introduction

1. John Cheever

The Five-Forty-Eight

2. Mary Gordon

Mrs. Cassidy's Last Year

3. Wendell Berry

Pray without Ceasing

4. Oscar Hijuelos

Christmas 1967

5. Reynolds Price

Long Night

6. Louis Erdrich

Satan: Hijacker of a Planet

7. Tess Gallagher

The Woman Who Prayed

8. Tillie Olsen

O Yes

George Perkins is Professor of English at Eastern Michigan University and an Associate Editor of

Narrative. He holds degrees from Tufts and Duke universities and received his Ph.D. from Cornell.

He has been a Fulbright Lecturer at the University of Newcastle in Australia and has held a Fellowship at the Institute for Advanced Studies in the Humanities at the University of Edinburgh. In addition to Newcastle and Edinburgh, he has taught at Washington University, Baldwin-Wallace College and Fairleigh Dickinson University. His books include THE THEORY OF THE AMERICAN NOVEL, REALISTIC AMERICAN SHORT FICTION, AMERICAN POETIC THEORY, THE HARPER HANDBOOK TO LITERATURE (with Northrup Frye and Sheridan Baker), THE PRACTICAL

IMAGINATION (with Frye, Baker and Barbara Perkins), BENET'S READER'S ENCYCLOPEDIA OF AMERICAN LITERATURE (with Barbara Perkins), KALEIDOSCOPE: Stories of the American

Experience (with Barbara Perkins), WOMEN'S WORK; An Anthology of American Literature (with

Barbara Perkins and Robyn Warhol), and THE AMERICAN TRADITION IN LITERATURE, 9TH edition

(with Barbara Perkins).

Barbara Perkins is Adjunct Professor of English at the University of Toledo and Associate Editor of Narrative. Since its founding, she has served as Secretary-Treasurer of the Society for the Study of Narrative Literature. She received her Ph.D. from the University of Pennsylvania and has taught at Baldwin-Wallace College, The University of Pennsylvania, Fairleigh Dickinson University, Eastern Michigan University, and the University of Newcastle, Australia. She has contributed essays to several reference works including CONTEMPORARY NOVELISTS, GREAT WRITERS OF THE ENLGISH LANGUAGE, and THE WORLD BOOK ENCYCLOPEDIA. Her books include CONTEMPORARY AMERICAN LITERATURE (with George Perkins), BENET'S READER'S ENCYCLOPEDIA OF

AMERICAN LITERATURE (with George Perkins and Phillip Leininger), KALEIDOSCIPE: Stories

Of the American Experience (with George Perkins), WOMEN'S WORK: An Anthology of American Literature (with George Perkins and Robyn Warhol) and THE AMERICAN TRADITION IN LITERATURE, 9th edition (with George Perkins).

", "movies.authors": "George Perkins, Barbara Perkins", "movies.title_slug": "the-american-tradition-in-literature", "movies.author_slug": "george-perkins", "movies.isbn13": 9780073384894, "movies.isbn10": 73384895, "movies.price": "$106.79", "movies.format": "Paperback", "movies.publisher": "McGraw-Hill Companies, The", "movies.pubdate": "November 2008", "movies.edition": "12nd Edition", "movies.subjects": "American Literature Anthologies", "movies.lexile": "", "movies.pages": 2352, "movies.dimensions": "6.00 (w) x 9.10 (h) x 2.10 (d)", "movies.overview": "

Widely known as the anthology that best unites tradition with innovation, The American Tradition in Literature is proud to enter its fifth decade of leadership among textbook anthologies of American literature.

Each volume continues to offer a flexible organization, with literary merit as the guiding principle of selection. The new photos and illustrations illuminate the texts and literary/historical timelines help students put works in context.

", "movies.excerpt": "", "movies.synopsis": "

", "movies.toc": "

List of Illustrations

Preface

EXPLORATION AND THE COLONIES, 1492–1791

Virginia and the South

New England

Timeline: Exploration and the Colonies

NATIVES AND EXPLORERS

NATIVE LITERATURE: THE ORAL TRADITION

The Chiefs Daughters

Coyote and Bear

Twelfth Song of the Thunder

The Corn Grows Up

At the Time of the White Dawn

Snake the Cause

The Weaver’s Lamentation

CHRISTOPHER COLUMBUS (1451-1506)

[Report of the First Voyage]

GIOVANNI DA VERRAZZANO (1485?-1528)

From Verrazzano’s Voyage: 1524

ALVAR NUEZ CABEZA DE VACA (c1490-c1557)

From Narrative of Cabeza de Vaca

Chapter 12: The Indians Bring Us Food

Chapter 16: The Christians Leave the Island of Malhado

RICHARD HAKLUYT (1552-1616)

The Famous Voyage of Sir Francis Drake

[Nova Albion]

SAMUEL DE CHAMPLAIN (c1567-1635)

From Voyages of Samuel de Champlain: The Voyage of 1604–1607

THE COLONIES

JOHN SMITH (1580-1631)

From The General History of Virginia, New England, and the Summer Isles

The Third Book. The Proceedings and Accidents of the English Colony in Virginia

Chapter II: What Happened till the First Supply

The Fourth Book: The Proceedings of the English after the Alteration of the Government Of Virginia

John Smith's Relation to Queen Anne of Pocahontas (1616)

WILLIAM BRADFORD (1590-1657)

From Of Plymouth Plantation, Book I

Chapter IX: Of their Voyage, and how they Passed the Sea; and of their Safe Arrival at Cape Cod

Chapter X: Showing How they Sought out a place of Habitation; and What Befell them Thereabout

From Of Plymouth Plantation, Book II

[The Mayflower Compact (1620)]

[Compact with the Indians]

[First Thanksgiving]

[Narragansett Challenge]

[Thomas Morton of Merrymount

JOHN WINTHROP (1588-1649)

From A Model of Christian Charity

PURITANISM

ANNE BRADSTREET (1612?-1672)

The Prologue

The Flesh and the Spirit

The Author to Her Book

Before the Birth of One of Her Children

To My Dear and Loving Husband

A Letter to Her Husband, Absent upon Public Employment

In Memory of My Dear Grandchild Elizabeth Bradstreet, Who Deceased August, 1665 Being a Year and a Half Old

Upon the Burning of Our House, July 10th, 1666

MARY ROWLANDSON (1636?–1711?)

From A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson

EDWARD TAYLOR (1642?-1729)

The Preface

Upon Wedlock, and Death of Children

Huswifery

Meditation 8, First Series

Upon a Spider Catching a Fly

CROSSCURRENTS: PURITANS, INDIANS, AND WITCHCRAFT

COTTON MATHER (1663-1728)

*[Indian Powaws and Witchcraft]

*MARY TOWNE EASTY (1634?-1692)

[The Petition of Mary Towne Easty]

SAMUEL SEWALL (1652-1730)

*[A Witchcraft Judge’s Confession of Guilt]

COTTON MATHER (1663-1728)

From The Wonders of the Invisible World

Enchantments Encountered

The Trial of Bridget Bishop

A Third Curiosity

THE SOUTH AND THE MIDDLE COLONIES

WILLIAM BYRD (1674-1744)

FromThe History of the Dividing Line

[Indian Neighbors]

JOHN WOOLMAN (1720-1772)

From The Journal of John Woolman

1720-1742 [Early Years]

1757 [Evidence of Divine Truth], [Slavery]

1755-1758 [Taxes and Wars]

ST. JEAN DE CREVÈCOEUR (1735-1813)

From Letters from an American Farmer:

What Is an American?

REASON AND REVOLUTION

The Enlightenment and the Spirit of Rationalism

From Neoclassical to Romantic Literature

Timeline: Reason and Revolution

JONATHAN EDWARDS (1703-1758)

Sarah Pierrepont

From A Divine and Supernatural Light

Sinners in the Hands of an Angry God

Personal Narrative

BENJAMIN FRANKLIN (1706-1790)

From The Autobiography

From Poor Richard's Almanack

Preface to Poor Richard, 1733

The Way to Wealth: Preface to Poor Richard, 1758

*The Speech of Polly Baker

THOMAS PAINE (1737-1809)

From Common Sense

Thoughts on the Present State of American Affairs

The American Crisis

THOMAS JEFFERSON (1737-1809)

The Declaration of Independence

First Inaugural Address

FromNotes on the State of Virginia

[A Southerner on Slavery]

[Speech of Logan]

Letter to John Adams

[The True Aristocracy]

OLAUDAH EQUIANO (1745?-1797?)

From The Interesting Narrative of the Life of Olaudah Equiano

Chapter II: [Horrors of a Slave Ship]

Chapter III: [Travels to Various Countries]

Chapter VII: [He Purchases his Freedom]

PHILLIS WHEATLEY (1754?-1784)

To the University of Cambridge, in New-England

On Being Brought from Africa to America

On the Death of the Reverend Mr. George Whitefield

An Hymn to the Evening

To S.M. a Young African Painter, on Seeing His Works

To His Excellency General Washington

PHILIP FRENEAU (1752-1832)

To the Memory of the Brave Americans

The Wild Honey Suckle

The Indian Burying Ground

On the Universality and Other Attributes of the God of Nature

CROSSCURRENTS: NATURE AND THE ENVIRONMENT IN A NEW WORLD

FRANCIS HIGGINSON (1586-1630)

From New England’s Plantation

WILLIAM BARTRAM (1739-1832)

From Travels through North and South Carolina, Georgia, East and West Florida

[Indian Corn, Green Meadows, and Strawberry Fields]

JOHN JAMES AUDUBON (1785-1893)

From The Ornithological Biography

Kentucky Sports

FRANCIS PARKMAN (1823-1893)

From The Oregon Trail

Chapter VII: The Buffalo

THE ROMANTIC TEMPER, 1800-1870

Regional Influences

Nature and the Land

The Original Native Americans

Timeline: The Romantic Temper

WASHINGTON IRVING (1783-1859)

From The Sketch Book

Rip Van Winkle

The Legend of Sleepy Hollow

JAMES FENIMORE COOPER (1789-1851)

From The Pioneers

Chapter XXII [Pigeons]

From The Prairie

Chapter XXXIX [Death of a Hero]

WILLIAM CULLEN BRYANT (1794-1878)

Thanatopsis

The Yellow Violet

To a Waterfowl

A Forest Hymn

To the Fringed Gentian

The Prairies

The Death of Lincoln

RED JACKET (c. 1752–1830)

[The Great Spirit Has Made Us All]

CROSSCURRENTS: ROMANTICISM AND THE AMERICAN INDIAN

JANE JOHNSTON SCHOOLCRAFT [BAMEWAWAGEZHIKAQUAY] (1800-1842)

Invocation: To My Maternal Grandfather on Hearing of His Descent from Chippewa Ancestors Misrepresented

ROMANTICISM AT MID-CENTURY

EDGAR ALLAN POE (1809-1849)

Romance

Sonnet--To Science

Lenore

The Sleeper

Israfel

To Helen

The City in the Sea

Sonnet--Silence

The Raven

Ulalume

Annabel Lee

Ligeia

The Fall of the House of Usher

The Purloined Letter

The Cask of Amontillado

NATHANIEL HAWTHORNE (1804-1864)

My Kinsman, Major Molineux

Young Goodman Brown

The Minister's Black Veil

The Birthmark

Rappaccini's Daughter

Ethan Brand

HERMAN MELVILLE (1819-1891)

Bartleby the Scrivener

The Portent

The Maldive Shark

Billy Budd, Sailor

TRANSCENDENTALISM

RALPH WALDO EMERSON (1803-1882)

Nature

The American Scholar

The Divinity School Address

Self-Reliance

The Over-Soul

Concord Hymn

Each and All

The Rhodora

Hamatreya

Fable

Brahma

Days

MARGARET FULLER (1810-1850)

From Woman in the Nineteenth Century

CROSSCURRENTS: TRANSCENDENTALISM, WOMEN, AND SOCIAL IDEALS

ELIZABETH PEABODY (1804–1894)

[Labor, Wages, and Leisure]

CHARLES DICKENS (1812–1870)

From American Notes

[The Mill Girls of Lowell]

ELIZABETH CADY STANTON (1815–1902)

Declaration of Sentiments [Seneca Falls, 1848]

SOJOURNER TRUTH (c. 1797–1883)

[Ar’n’t I a Woman?]

FANNY FERN (1811–1872)

Aunt Hetty on Matrimony

The Working-Girls of New York

HENRY DAVID THOREAU (1817-1862)

From Walden

Economy

Where I Lived, and What I Lived for

Brute Neighbors

Conclusion

Civil Disobedience

THE HUMANITARIAN SENSIBILITY AND THE INEVITABLE CONFLICT, 1800-1870

Democracy and Social Reform

Inevitable Conflict

Timeline: The Humanitarian Sensibility and the Inevitable Conflict

CROSSCURRENTS: SLAVERY, THE SLAVE TRADE, AND THE CIVIL WAR

BRITON HAMMON (fl. 1760)

From Narrative of the Uncommon Sufferings, and Surprizing Deliverance of Briton Hammon, a Negro Man

WILLIAM CUSHING (1732–1810)

[Slavery Inconsistent with Our Conduct and Constitution]

ALEXANDER FALCONBRIDGE (1760-1792)

From An Account of the Slave Trade, on the Coast of Africa

HENRY WADSWORTH LONGFELLOW (1807–1882)

The Witnesses

LYDIA MARIA CHILD (1802–1880)

[Reply to Margaretta Mason]

SARAH MORGAN (1842–1909)

From The Civil War Diary of Sarah Morgan

SARAH MORGAN BRYAN PIATT (1836-1919)

Army of Occupation

HENRY WADSWORTH LONGFELLOW (1807-1882)

The Arsenal at Springfield

From The Song of Hiawatha

III. Hiawatha's Childhood

IV. Hiawatha and Mudjekeewis

V. Hiawatha's Fasting

VII. Hiawatha's Sailing

XXI. The White Man's Foot

The Jewish Cemetery at Newport

My Lost Youth

Divina Commedia

The Tide Rises, the Tide Falls

The Cross of Snow

JOHN GREENLEAF WHITTIER (1807-1892)

Massachusetts to Virginia

First-Day Thoughts

Telling the Bees

Laus Deo

OLIVER WENDELL HOLMES (1809-1894)

Old Ironsides

The Last Leaf

My Aunt

The Chambered Nautilus

ABRAHAM LINCOLN (1809-1865)

Reply to Horace Greeley

Address at the Dedication of the Gettysburg National Cemetery

Second Inaugural Address

HARRIET BEECHER STOWE (1811-1896)

From Uncle Tom's Cabin

Chapter VII: The Mother's Struggle

HARRIET JACOBS (1813-1897)

FromIncidents in the Life of a Slave Girl

Chapter VI: The Jealous Mistress

Chapter XVII: The Flight

Chapter XVIII: Months of Peril

Chapter XIX: The Children Sold

FREDERICK DOUGLASS (1817?-1895)

From Narrative of the Life of Frederick Douglass

Chapter I [Birth]

Chapter VII [Learning to Read and Write].

Chapter X [Mr. Covey]

CROSSCURRENTS: FAITH AND CRISIS

HERMAN MELVILLE (1819-1981)

From Moby-Dick, or The Whale

SARAH MORGAN BRYAN PIATT (1836-1919)

No Help

Emily Dickinson (1830-1886)

338 [I know that He exists]

376 [Of course—I prayed--]

AN AGE OF EXPANSION, 1865-1910

From Romanticism to Realism

Regionalism

The Gilded Age

Timeline: An Age of Expansion

PIONEERS OF A NEW POETRY

WALT WHITMAN (1819-1892)

Preface to the 1855 Edition of Leaves of Grass

Song of Myself

Once I Pass'd Through a Populous City

Facing West from California's Shores

For You O Democracy

I Saw in Louisiana a Live-oak Growing

Crossing Brooklyn Ferry

Out of the Cradle Endlessly Rocking

The Dalliance of the Eagles

Cavalry Crossing a Ford

Vigil Strange I Kept on the Field One Night

A Sight in Camp in the Daybreak Gray and Dim

The Wound-Dresser

Reconciliation

When Lilacs Last in the Dooryard Bloom'd

There Was a Child Went Forth

To a Common Prostitute

The Sleepers

A Noiseless Patient Spider

To a Locomotive in Winter

Good-bye My Fancy!

EMILY DICKINSON (1830-1886)

49 [I never lost as much but twice]

67 [Success is counted sweetest]

130 [These are the days when Birds come back -- ]

214 [I taste a liquor never brewed -- ]

241 [I like a look of Agony]

249 [Wild Nights -- Wild Nights!]

252 [I can wade Grief -- ]

258 [There's a certain Slant of light]

280 [I felt a Funeral, in my Brain]

285 [The Robin's my Criterion for Tune -- ]

288 [I'm Nobody! Who are you?]

290 [Of Bronze -- and Blaze -- ]

303 [The Soul selects her own Society -- ]

320 [We play at Paste -- ]

324 [Some keep the Sabbath going to Church]

328 [A Bird came down the Walk -- ]

341 [After great pain, a formal feeling comes -- ]

401 [What Soft -- Cherubic Creatures -- ]

435 [Much Madness is divinest Sense -- ]

441 [This is my letter to the World]

448 [This was a Poet -- It is That]

449 [I died for Beauty -- but was scarce]

465 [I heard a Fly buzz -- when I died -- ]

511 [If you were coming in the Fall]

556 [The Brain, within its Groove]

579 [I had been hungry, all the Years -- ]

581 [I found the works to every thought]

585 [I like to see it lap the Miles -- ]

632 [The Brain -- is wider than the sky -- ]

636 [The Way I read a Letter's -- this -- ]

640 [I cannot live with You -- ]

650 [Pain -- Has a Element of Blank -- ]

657 [I dwell in Possibility -- ]

701 [A Thought went up my mind today--]

712 [Because I could not stop for Death -- ]

732 [She rose to His Requirement -- dropt]

754 [My Life had stood -- a Loaded Gun -- ]

816 [A Death blow is a Life blow to Some]

823 [Not what We did, shall be the test]

986 [A narrow Fellow in the Grass]

1052 [I never saw a Moor -- ]

1078 [The Bustle in a House]

1082 [Revolution is the Pod]

1100 [The last Night that She lived]

1129 [Tell all the Truth but tell it slant -- ]

1207 [He preached upon Breadth till it argued him narrow -- ]

1263 [There is no Frigate like a Book]

1304 [Not with a Club, the Heart is broken]

1463 [A Route of Evanescence]

1540 [As imperceptibly as Grief]

1587 [He ate and drank the precious Words -- ]

1624 [Apparently with no surprise]

1732 [My life closed twice before its close -- ]

1760 [Elysium is as far as to]

Letters

[To Recipient Unknown, about 1858]

[To Recipient Unknown, about 1861]

[To Recipient Unknown, early 1862?]

[To T. W. Higginson, 15 April 1862]

[To T. W. Higginson, 25 April 1862]

[To T. W. Higginson, 7 June 1862]

[To T. W. Higginson, July 1862]

[To T. W. Higginson, August 1862]

CROSSCURRENTS: FREEDOM IN THE GILDED AGE

WALT WHITMAN (1819–1892)

From Democratic Vistas

HENRY ADAMS (1838–1918)

From The Education of Henry Adams

Chapter XVII: President Grant

GEORGE WASHINGTON CABLE (1844–1925)

From The Freedman’s Case in Equity

[The Perpetual Alien]

BOOKER T. WASHINGTON (1856–1915)

From Up from Slavery

[The Struggle for an Education]

REALISM AND NATURALISM, 1880-1920

Realism

Spiritual Unrest

Naturalism

Timeline: The Turn of the Century

MARK TWAIN (1835-1910)

The Notorious Jumping Frog of Calaveras County

From Roughing It

[When the Buffalo Climbed a Tree]

From Life on the Mississippi

The Boy's Ambition

[A Mississippi Cub-Pilot]

How to Tell a Story

WILLIAM DEAN HOWELLS (1837-1920)

Editha

HENRY JAMES (1843-1916)

Daisy Miller

The Real Thing

The Beast in the Jungle

BRET HARTE (1836-1902)

The Outcasts of Poker Flat

RED CLOUD (c. 1822-1909)

[All I Want Is Peace and Justice]

SARAH WINNEMUCCA HOPKINS (1844-1894)

From Life among the Piutes

Chapter 1: First Meeting of Piutes and Whites

HENRY ADAMS (1838-1918)

The Dynamo and the Virgin

SARAH ORNE JEWETT (1849-1909)

A White Heron

KATE CHOPIN (1851-1904)

The Awakening

MARY E. WILKINS FREEMAN (1852-1930)

The Revolt of \"Mother\"

CHARLES W. CHESTNUTT (1858-1932)

The Passing of Grandison

CROSSCURRENTS: PROSPERITY AND SOCIAL JUSTICE AT THE TURN OF THE CENTURY

ANDREW CARNEGIE (1835–1919)

Wealth

STEPHEN CRANE (1871–1900)

The Trees in the Garden Rained Flowers

WILLIAM VAUGHAN MOODY (1869–1910)

Gloucester Moors

On a Soldier Fallen in the Philippines

ZITKALA-SA (1876–1938)

Retrospection

W. E. B. DUBOIS (1868–1963)

From The Souls of Black Folk

Of Mr. Booker T. Washington and Others

CHARLOTTE PERKINS GILMAN (1860-1935)

The Yellow Wallpaper

FRANK NORRIS (1870-1902)

A Plea for Romantic Fiction

STEPHEN CRANE (1871-1900)

Do Not Weep, Maiden, for War is Kind

The Wayfarer

A Man Said to the Universe

The Open Boat

EDITH WHARTON (1862-1937)

Roman Fever

THEODORE DREISER (1871-1945)

The Second Choice

JACK LONDON (1876-1916)

To Build a Fire

LITERARY RENAISSANCE, 1910-1930

Twentieth-Century Renaissance

Poetry between the Wars

Timeline: Literary Renaissance

NEW DIRECTIONS: FIRST WAVE

EDWIN ARLINGTON ROBINSON (1869-1935)

Luke Havergal

Richard Cory

Miniver Cheevy

Mr. Flood's Party

The Mill

Firelight

New England

WILLA CATHER (1873-1947)

Neighbour Rosicky

ROBERT FROST (1874-1963)

The Tuft of Flowers

Mending Wall

Home Burial

After Apple-Picking

The Wood-Pile

The Road Not Taken

The Oven Bird

Birches

The Hill Wife

The Ax-Helve

The Grindstone

The Witch of Coös

Fire and Ice

Stopping by Woods on a Snowy Evening

Two Tramps in Mud Time

Desert Places

Design

Come In

Directive

CARL SANDBURG (1878-1967)

Chicago

Fog

Nocturne in a Deserted Brickyard

Monotone

Gone

A Fence

Grass

Southern Pacific

Washerwoman

SHERWOOD ANDERSON (1876-1941)

The Book of the Grotesque

Adventure

SUSAN GLASPELL (1876?-1948)

*Trifles

EZRA POUND (1885-1972)

In a Station of the Metro

Hugh Selwyn Mauberley

From The Cantos

I: [And then went down to the ship]

XIII: [Kung walked]

LXXXI: [What thou lovest well remains]

CXVI: [Came Neptunus]

T. S. ELIOT (1888-1965)

The Love Song of J. Alfred Prufrock

Gerontion

The Waste Land

The Hollow Men

AMY LOWELL (1874-1925)

Patterns

A Decade

ELINOR WYLIE (1885-1928)

Wild Peaches

Sanctuary

Prophecy

Let No Charitable Hope

O Virtuous Light

H.D. (HILDA DOOLITTLE) (1886-1961)

Heat

Heliodora

Lethe

Sigil

POETS OF IDEA AND ORDER

WALLACE STEVENS (1879-1955)

Peter Quince at the Clavier

Disillusionment of Ten O'Clock

Sunday Morning

Anecdote of the Jar

The Snow Man

Bantams in Pine-Woods

A High-Toned Old Christian Woman

The Emperor of Ice-Cream

To the One of Fictive Music

The Idea of Order at Key West

A Postcard from the Volcano

Of Modern Poetry

No Possum, No Sop, No Taters

The Plain Sense of Things

Of Mere Being

WILLIAM CARLOS WILLIAMS (1883-1963)

The Young Housewife

Tract

To Mark Anthony in Heaven

Portrait of a Lady

Queen-Anne's-Lace

The Great Figure

Spring and All

The Red Wheelbarrow

This Is Just to Say

A Sort of a Song

The Dance

The Ivy Crown

MARIANNE MOORE (1887-1972)

Poetry

In the Days of Prismatic Color

An Egyptian Pulled Glass Bottle in the Shape of a Fish

No Swan So Fine

A Jelly-Fish

HART CRANE (1899-1932)

From The Bridge

To Brooklyn Bridge

Van Winkle

The River

The Tunnel

A LITERATURE OF SOCIAL AND CULTURAL CHANGE, 1920-1945

Drama and Social Change

Primitivism

The Roaring Twenties and the Lost Generation

The Harlem Renaissance

Depression and Totalitarian Menace

Timeline: A Literature of Social and Cultural Change

EUGENE O'NEILL (1888-1953)

The Hairy Ape

ROBINSON JEFFERS (1887-1962)

To the Stone-Cutters

Shine, Perishing Republic

The Purse-Seine

CLAUDE MCKAY (1889-1948)

The Harlem Dancer

Harlem Shadows

America

Outcast

EDNA ST. VINCENT MILLAY (1892-1950)

First Fig

[I Shall Go Back Again to the Bleak Shore]

[What Lips My Lips Have Kissed, and Where, and Why ]

Justice Denied in Massachusetts

[This Beast That Rends Me in the Sight of All ]

[Love Is Not All: It Is Not Meat Nor Drink]

[Those Hours When Happy Hours Were My Estate]

[I Will Put Chaos into Fourteen Lines]

E. E. CUMMINGS (1894-1962)

Thy Fingers Make Early Flowers Of

When God Lets My Body Be

In Just-

Buffalo Bill's

My Sweet Old Etcetera

I Sing of Olaf Glad and Big

Somewhere I Have Never Travelled, Gladly Beyond

Anyone Lived in a Pretty How Town

My Father Moved through Dooms of Love

Up into the Silence the Green

Plato Told

When Serpents Bargain for the Right to Squirm

I Thank You God

CROSSCURRENTS: THE JAZZ AGE AND THE HARLEM RENAISSANCE

JAMES WELDON JOHNSON (1871–1938)

[Negro Dialect]

PAUL ROBESON

Reflections on O’Neill’s Plays

LANGSTON HUGHES

When the Negro Was in Vogue

ST JAMES INFIRMARY BLUES

LANGSTON HUGHES (1902-1967)

The Negro Speaks of Rivers

The Weary Blues

Song for a Dark Girl

Trumpet Player

Dream Boogie

Harlem

F. SCOTT FITZGERALD (1896-1940)

Babylon Revisited

JOHN DOS PASSOS (1896-1970)

FromThe 42nd Parallel

Big Bill

From 1919

The House of Morgan

The Body of An American

From The Big Money

Newsreel LXVI

The Camera Eye (50)

Vag

WILLIAM FAULKNER (1897-1962)

That Evening Sun

Barn Burning

ERNEST HEMINGWAY (1899-1961)

Big Two-Hearted River: Part I

Big Two-Hearted River: Part II

KATHERINE ANNE PORTER (1890-1980)

The Jilting of Granny Weatherall

RICHARD WRIGHT (1908-1960)

From Black Boy

[A Five Dollar Fight]

THE SECOND WORLD WAR AND ITS AFTERMATH

Postwar Drama

Postwar Poetry

Postwar Fiction

Multiculturalism

The Postmodern Impulse

Timeline: The Second World War and Its Aftermath

DRAMA

TENNESSEE WILLIAMS (1911-1983)

The Glass Menagerie

CROSSCURRENTS: THE AGE OF ANXIETY: THE BEAT GENERATION AND SOCIAL RESPONSIBILITIES

JACK KEROUAC

From On the Road

JOHN CLELLON HOLMES (1926–1988)

From The Philosophy of the Beat Generation

DWIGHT D. EISENHOWER (1890–1969)

[The Military Industrial Complex]

RACHEL CARSON (1904–1964)

From Silent Spring

MARTIN LUTHER KING, JR (1929–1968)

I Have a Dream

POETRY

THEODORE ROETHKE (1908-1963)

Open House

Cuttings (later)

My Papa's Waltz

Elegy for Jane

The Waking

I Knew a Woman

The Far Field

Wish for a Young Wife

In a Dark Time

ELIZABETH BISHOP (1911-1979)

The Fish

At the Fishhouses

Questions of Travel

Sestina

In the Waiting Room

One Art

CZESLAW MILOSZ (1911-2004)

Campo dei Fiori

Fear

Café

In Warsaw

Ars Poetica?

To Raja Rao

With Her

ROBERT HAYDEN (1913–1980)

Tour 5

Those Winter Sundays

Year of the Child

JOHN BERRYMAN (1914-1972)

1: [Huffy Henry hid the day]

4: [Filling her compact & delicious body]

14: [Life, friends, is boring. We must not say so]

29: [There sat down, once, a thing on Henry's heart]

76: [Henry's Confession]

145: [Also I love him: me he's done no wrong]

153: [I'm cross with god who has wrecked this generation]

384: [The marker slants, flowerless, day's almost done]

GWENDOLYN BROOKS (1917-2000)

a song in the front yard

The Bean Eaters

We Real Cool

The Lovers of the Poor

ROBERT LOWELL (1917-1977)

Waking in the Blue

Skunk Hour

The Neo-Classical Urn

For the Union Dead

Reading Myself

Epilogue

DENISE LEVERTOV (1923- )

The Third Dimension

To the Snake

The Willows of Massachusetts

ROBERT BLY (1926- )

Driving toward the Lac Qui Parle River

Driving to Town Late to Mail a Letter

Watering the Horse

The Executive's Death

Looking at New-Fallen Snow from a Train

ALLEN GINSBERG (1926-1997)

Howl

America

SYLVIA PLATH (1932-1963)

Morning Song

The Applicant

Daddy

Lady Lazarus

Death & Co

Mystic

AMIRI BARAKA (1934- )

In Memory of Radio

An Agony. As Now.

PROSE

EUDORA WELTY (1909- )

A Memory

VLADIMIR NABOKOV (1899-1977)

From Pnin

Chapter Five [Pnin at the Pines]

ISAAC BASHEVIS SINGER (1904-1991)

Gimpel the Fool

JOHN CHEEVER (1912-1982)

The Swimmer

RALPH ELLISON (1914- )

From Invisible Man

Chapter 1 [Battle Royal]

BERNARD MALAMUD (1914-1986)

The Mourners

SAUL BELLOW (1915- )

A Silver Dish

JAMES BALDWIN (1924-1987)

Sonny's Blues

FLANNERY O'CONNOR (1925-1964)

Good Country People

JOHN BARTH (1930- )

Lost in the Funhouse

JOHN UPDIKE (1932- )

Separating

PHILIP ROTH (1933- )

The Conversion of the Jews

THOMAS PYNCHON (1937- )

Entropy

A CENTURY ENDS AND A NEW MILLENNIUM BEGINS, 1975 to Present

Drama

Poetry

Fiction

Multiculturalism

Timeline: A Century Ends and a New Millennium Begins

CROSSCURRENTS: WHAT IS AN AMERICAN? FREEDOM AND RESPONSIBILITY

BOB DYLAN

Masters of War

NORMAN MAILER (1923-2007)

From Armies of the Night

BETTY FRIEDAN

The Problem that Has No Name

TIM O’BRIEN (1946- )

The Things They Didn’t Know

AL GORE (1948- )

From An Inconvenient Truth

POETRY

JAMES WRIGHT

A Note Left in Jimmy Leonard's Shack

Autumn Begins in Martins Ferry, Ohio

In Terror of Hospital Bills

Two Postures Beside a Fire

JAMES MERRILL (1926-1995)

A Timepiece

Charles on Fire

The Broken Home

JOHN ASHBERY (1927- )

Some Trees

The Painter

Crazy Weather

At North Farm

Down by the Station, Early in the Morning

ANNE SEXTON

Her Kind

The Farmer's Wife

The Truth the Dead Know

With Mercy for the Greedy

ADRIENNE RICH

Aunt Jennifer's Tigers

Living in Sin

Diving into the Wreck

For the Dead

GARY SNYDER

The Late Snow & Lumber Strike of the Summer of Fifty-four

Riprap

Not Leaving the House

Axe Handles

MARY OLIVER

In Blackwater Woods

The Ponds

Picking Blueberries, Austerlitz, New York, 1957.

Early Morning, New Hampshire

JOSEPH BRODSKY (1940-1996)

From Lullaby of Cape Cod

IV [The change of Empires is intimately tied]

Belfast Tune

A Song

To My Daughter

SIMON ORTIZ

Vision Shadows

Poems from the Veterans Hospital

From From Sand Creek

RITA DOVE

Dusting

Roast Possum

CATHY SONG

Picture Bride

Immaculate Lives

PROSE

JOYCE CAROL OATES (1938- )

Where Are You Going, Where Have You Been?

TONI MORRISON

From Sula

1992

RAYMOND CARVER

A Small, Good Thing

BOBBIE ANN MASON

Shiloh

BHARATI MUKHERJEE (1940- )

The Management of Grief

ALICE WALKER

Everyday Use

TIM O'BRIEN

From Going After Cacciato

Night March

ANN BEATTIE

Janus

AMY TAN

Half and Half

LOUISE ERDRICH

The Red Convertible

SANDRA CISNEROS

Woman Hollering Creek

SHERMAN ALEXIE

What You Pawn I Will Redeem

JHUMPA LAHIRI

The Third and Final Continent

EDWIDGE DANTICAT

Seven

Historical-Literary Timeline

Bibliography

Acknowledgments

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PETER SCHAKEL is Peter C. and Emajean Cook Professor of English at Hope College. He is author of The Poetry of Jonathan Swift (1978) and four books on C.S. Lewis, including Imagination and the Arts in C.S. Lewis (2002) and The Way into Narnia: A Reader's Guide (2005). He is also editor of Critical Approaches to Teaching Swift (1992) and The Longing for a Form: Essays and Fiction on C.S. Lewis (1977); coeditor with Charles A. Huttar of Word and Story in C.S. Lewis (1991) and The Rhetoric of Vision: Essays on Charles Williams (1996). For Bedford/St. Martin's, with Jack Ridl he co-edited Approaching Poetry (1997) and 250 Poems (2003), and he is coeditor with Janet Gardner, Beverley Lawn, and Jack Ridl of Literature: a Portable Anthology (2004).

JACK RIDL is Professor Emeritus of English at Hope College where he taught courses in literature, essay writing, poetry writing, and the nature of poetry for thirty-five years. He has published six volumes of poetry and more than 200 poems in some fifty literary magazines; his most recent collection, Broken Symmetry, was selected by the Society of Midland Authors as one of the two best volumes of poetry published in 2006. His chapbook Against Elegies received the 2001 Letterpress Award from the Center for Book Arts. His recognitions for teaching excellence include the Hope Outstanding Professor-Educator award at Hope College for 1976, the Michigan Teacher of the Year award from the Carnegie Foundation in 1996, and the Favorite Faculty/Staff Member award at Hope College in 2003. For Bedford/St. Martin's, with Peter Schakel he co-edited Approaching Poetry (1997) and 250 Poems (2003); and he is coeditor with Janet Gardner, Beverley Lawn, and Peter Schakel of Literature: a Portable Anthology (2004).

", "movies.authors": "Peter Schakel, Jack Ridl", "movies.title_slug": "approaching-literature", "movies.author_slug": "peter-schakel", "movies.isbn13": 9780312452834, "movies.isbn10": 312452837, "movies.price": "$48.94", "movies.format": "Paperback", "movies.publisher": "Bedford/St. Martin's", "movies.pubdate": "December 2007", "movies.edition": "2nd Edition", "movies.subjects": "Nonfiction Writing - General & Miscellaneous, English Language Readers, Student Life - College Guides, Rhetoric - English Language, American Literature Anthologies", "movies.lexile": "", "movies.pages": 1696, "movies.dimensions": "6.53 (w) x 9.26 (h) x 1.69 (d)", "movies.overview": "

Developed by authors with more than 50 years of teaching experience between them, Approaching Literature has been designed as a true alternative to more traditional literature anthologies. The authors conceived this anthology with three principles in mind: (1) that exposing students to the widest array of literature can help every one find common ground with that literature; (2) that contemporary literary works can serve as entry points to reading and appreciating the canonical literature that students often find unfamiliar, intimidating, and sometimes irrelevant; and (3) that the instruction in reading and writing about literature should be accessible and jargon-free to all students, not just potential English majors. With its streamlined and student-friendly instructional text, and its ongoing commitment to showcasing the most engaging and diverse literary works publishing right now, Approaching Literature is built from the ground up with today's students in mind.

", "movies.excerpt": "", "movies.synopsis": "

", "movies.toc": "

PART I. APPROACHING LITERATURE

1. Reading Literature: Taking Part in a Process

Sherman Alexie, Superman and Me

The Nature of Reading

Active Reading

CHECKLIST on Active Reading

Julia Alvarez, Daughter of Invention

2. Writing in Response to Literature: Entering the Conversation

Alice Walker, The Flowers

Writing in the Margins

Journal Writing

Discussing Literature

TIPS for Effective Journal Writing

TIPS for Participating in Class Discussions

Writing Essay Examination Answers

Writing Short Papers

TIPS for Writing a Short Paper

Writing Research Papers

Writing Papers in Other Formats

Composing in Other Art Forms

PART II. APPROACHING FICTION

3. Reading Fiction: Responding to the Real World of Stories

What Is Fiction?

Why Read Fiction?

Active Reading: Fiction

Rereading Fiction

4. Plot and Characters: Watching What Happens, to Whom

Reading for Plot

Dagoberto Gilb, Love in L.A.

Reading for Characters

CHECKLIST for Reading About Plot and Character

Further Reading

Louise Erdrich, The Red Convertible

Joyce Carol Oates, Where Are You Going, Where Have You Been?

Responding Through Writing

Writing About Plot and Character

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing About Plot and Character

Writing About Connnections

\"Love and the City\": Realizing Relationships in Dagoberto Gilb’s Love in L.A. and Raymond Carver’s What We Talk about When We Talk about Love

\"My Brother’s Keeper\": Supportive Siblings in Louise Erdrich’s The Red Convertible and James Baldwin’s Sonny’s Blues

\"Good Men Are Hard to Find\": Encounters with Evil in Joyce Carol Oates’s Where Are You Going, Where Have You Been? and Flannery O’Connor’s A Good Man Is Hard to Find

Writing Research Papers

Composing in Other Art Forms

5. Point of View and Theme: Being Alert to Angles, Open to Insights

Sandra Cisneros, The House on Mango Street

Reading for Narrator

Reading for Point of View

Theme

CHECKLIST for Reading about Point of View and Theme

Further Reading

Alice Walker, Everyday Use

*George Saunders, The End of FIRPO in the World

Approaching Graphic Fiction

*Lynda Barry, Today’s Demon: Magic

Responding Through Writing

Writing About Point of View and Theme

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Point of View and Theme

Writing About Connections

\"Staring Out Front Windows\": Seeking Escape in Sandra Cisneros’s The House on Mango Street and James Joyce’s Araby

\"Can You Come Home Again?\": The Difficulty of Returning in Alice Walker’s Everyday Use and Monica Ali’s Dinner with Dr. Azad

\"States of Mind That Matter\": Approaching Death in George Saunders’s The End of FIRPO in the World and Katherine Anne Porter’s The Jilting of Granny Weatherall

Writing Research Papers

Composing in Other Art Forms

6. Setting and Symbol: Meeting Meaning in Places and Objects

Setting

Ernest Hemingway, Hills Like White Elephants

Reading for Symbols

Reading for Allegory

CHECKLIST for Reading about Setting and Symbol

Further Reading

Tim O’Brien, The Things They Carried

*Edward P. Jones, Bad Neighbors

*Joe Sacco, Complacency Kills

Writing About Symbol and Setting

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Setting and Symbol

Writing About Connections

\"Secrets of the Heart\": Keeping Hope Alive in Ernest Hemingway’s Hills Like White Elephants and David Means’s The Secret Goldfish

\"Dying a Good Death\": Struggles Over What Matters in Tim O’Brien’s The Things They Carried and Yiyun Li’s Persimmons

\"‘A Good Man Is Hard to Find’\": Nature vs. Nurture in Edward P. Jones’s Bad Neighbors and Nathaniel Hawthorne’s Young Goodman Brown

Writing Research Papers

Composing in Other Art Forms

7. Style, Tone, and Irony: Attending to Expression and Attitude

Kate Chopin, The Story of an Hour

Reading for Style

Reading for Tone

Reading for Irony

CHECKLIST on Reading about Style, Tone, and Irony

Further Reading

Toni Cade Bambara, The Lesson

*Katherine Min, Courting a Monk

Responding Through Writing

Writing About Style, Tone and Irony

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Style, Tone, and Irony

Writing About Connections

\"Time for a Change\": Kate Chopin’s The Story of an Hour and Jhumpa Lahiri’s A Temporary Matter

\"Learning Out of School\": Personal Maturity in Toni Cade Bambara’s The Lesson and John Updike’s A & P

\"‘Gather Ye Rosebuds’\": Looking for Love in Katherine Min’s Courting a Monk and William Faulkner’s A Rose for Emily

Writing Research Papers

Composing in Other Art Forms

8. Writing about Fiction: Applying What You’ve Learned

Topics

TIPS for Writing Compare and Contrast Papers

Development

TIPS for Writing Social and Cultural Criticism

A Student Writer at Work: Alicia Abood on the Writing Process

Student Paper: Alicia Abood, \"Clips of Language: The Effect of Diction in Dagoberto Gilb’s ‘Love in L.A.’\"

9. An Author in Depth: Sherman Alexie: Exploring One Writer’s World

Sherman Alexie, This is What It Means to Say Phoenix, Arizona

Sherman Alexie, The Lone Ranger and Tonto Fistfight in Heaven

*Sherman Alexie, Somebody Kept Saying Powwow

Tomson Highway, Interview with Sherman Alexie

*Ase Nygren, A World of Story-Smoke: A Conversation with Sherman Alexie

Joseph L. Coulombe, The Approximate Size of His Favorite Humor: Sherman Alexie’s Comic Connections and Disconnections in The Lone Ranger and Tonto Fistfight in Heaven

*Jerome Denuccio, Slow Dancing with Skeletons: Sherman Alexie’s The Lone Ranger and Tonto Fistfight in Heaven

*James Cox, Muting White Noise: The Subversion of Popular Culture Narratives of Conquest in Sherman Alexie’s Fiction

10. A Collection of Stories: Visiting a Variety of Vistas

*Monica Ali, Dinner with Dr. Azad

Isabel Allende (Chile), And of Clay Are We Created

James Baldwin, Sonny’s Blues

*Melissa Bank, The Wonder Spot

*Raymond Carver, What We Talk about When We Talk about Love

*Judith Ortiz Cofer, American History

Ralph Ellison, Battle Royal

William Faulkner, A Rose for Emily

Nathaniel Hawthorne, Young Goodman Brown

Zora Neale Hurston, Sweat

*James Joyce, Araby

Jamaica Kincaid, Girl

*Jhumpa Lahiri, A Temporary Matter

*Yiyun Li, Persimmons

Gabriel Garc’a Marquez (Columbia), A Very Old Man with Enormous Wings

*David Means, The Secret Goldfish

*Ana Menendez, Her Mother’s House

Toni Morrison, Recitatif

*Haruki Murakami, Birthday Girl

Flannery O’Connor, A Good Man Is Hard to Find

Tillie Olsen, I Stand Here Ironing

Edgar Allen Poe, The Cask of Amontillado

Katherine Anne Porter, The Jilting of Granny Weatherall

Nahid Rachlin, Departures

Salman Rushdie (India), The Prophet’s Hair

Leslie Marmon Silko, The Man to Send Rain Clouds

*Zadie Smith, The Girl with Bangs

*John Steinbeck, The Chrysanthemums

Amy Tan, Two Kinds

John Updike, A & P

Helena Mar’a Viramontes, The Moths

PART III. APPROACHING POETRY

11. Reading Poetry: Realizing the Richness in Poems

What Is Poetry?

Why Read Poetry?

Active Reading: Poetry

Rereading Poetry

12. Words and Images: Seizing on Sense and Sight

Denotation

Robert Hayden, Those Winter Sundays

Connotation

Gwendolyn Brooks, The Bean Eaters

Images

Maxine Kumin, The Sound of Night

William Carlos Williams, The Red Wheelbarrow

CHECKLIST on Reading for Words and Images

Further Reading

Allison Joseph, On Being Told I Don’t Speak like a Black Person

*Robert Bly, Driving to Town Late to Mail a Letter

Jonathan Swift, A Description of the Morning

Garrett Kaoru Hongo, Yellow Light

Robert Frost, After Apple-Picking

Anita Endrezze, The Girl Who Loved the Sky

Responding Through Writing

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Words and Images

Writing About Connections

\"Autumn Leaves\": The Changing Seasons of Life in Robert Frost’s After Apple-Picking and Joseph Awad’s Autumnal

\"Seeing the City\": The Contrasting Perspectives of Jonathan Swift’s A Description of the Morning and Cheryl Savageau’s Bones — A City Poem

\"Impermanence’s Permanence\": Anita Endrezze’s The Girl Who Loved the Sky and Edmund Spenser’s One day I wrote her name upon the strand

Writing Research Papers

Composing in Other Art Forms

13. Voice, Tone, and Sound: Hearing for How Sense Is Said

Voice

Li-young Lee, Eating Alone

Charles Bukowski, my old man

Dramatic Monologue

Tone

Theodore Roethke, My Papa’s Waltz

Irony

Marge Piercy, Barbie Doll

Sound

Sekou Sundiata, Blink Your Eyes

CHECKLIST on Reading for Voice, Tone, and Sound

Further Reading

Wilfred Owen, Dulce et Decorum Est

Yosef Komunyakaa, Facing It

Richard Garcia, Why I Left the Church

*Billy Collins, Consolation

Robert Browning, My Last Duchess

Responding Through Writing

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Voice, Tone, and Sound

Writing About Connections

\"All the Comforts of Home\": Contrasting Spirits of Adventure in Billy Collins’s Consolation and Alfred, Lord Tennyson’s Ulysses

\"Arms and the Man\": War without Glory in Wilfred Owen’s Dulce et Decorum Est and Vievee Francis’s Private Smith’s Primer

\"Dancing with the Dark\": Movement and Memory in Theodore Roethke’s My Papa’s Waltz and Cornelius Eady’s My Mother, If She Had Won Free Dance Lessons

Writing Research Papers

Composing in Other Art Forms

14. Form and Type: Delighting in Design

Lines

Gwendolyn Brooks, We Real Cool

Stanzas

Countee Cullen, Incident

Sonnets

William Shakespeare, That time of year thou mayst in me behold

Claude McKay, If we must die

Gerard Manley Hopkins, God’s Grandeur

Helene Johnson, Sonnet to a Negro in Harlem

Blank Verse and Couplets

Free Verse

Leslie Marmon Silko, Prayer to the Pacific

Internal Form

CHECKLIST on Reading for Form and Type

Further Reading

James Wright, A Blessing

Joy Harjo, She Had Some Horses

William Butler Yeats, The Lake Isle of Innisfree

*Robert Herrick, To Daffodils

David Mura, Grandfather-in-law

*Elizabeth Bishop, Sestina

Responding Through Writing

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Form and Type

Writing About Connections

\"Amazing Grace\": Being Blessed from within and from without in James Wright’s A Blessing and Galway Kinnell’s Saint Francis and the Sow

\"‘Which thou must leave ere long’\": Approaching Separation in Elizabeth Bishop’s Sestina and William Shakespeare’s That time of year thou mayst in me behold

\"The Solace of Solitude\": Place and Peace in W. B.Yeats’s The Lake Isle of Innisfree and Lorine Niedecker’s My Life by Water

Writing Research Papers

Composing in Other Art Forms

15. Figurative Language: Wondering What This Has to Do with That

Simile

Julie Moulds, From Wedding Iva

Langston Hughes, Harlem

Metaphor

Dennis Brutus, Nightsong: City

Personification

Angelina Weld Grimke, A Winter Twilight

Metonymy And Synecdoche

Edwin Arlington Robinson, Richard Cory

Two Other Observations about Figures

William Stafford, Traveling through the Dark

CHECKLIST on Reading for Figurative Language

Further Reading

John Keats, To Autumn

*Mary Oliver, First Snow

Judith Ortiz Cofer, Cold as Heaven

Geoffrey Hill, In Memory Of Jane Fraser

Julia Alvarez, How I Learned to Sweep

Responding Through Writing

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Figurative Language

Writing About Connections

\"Innocence and Experience\": Confrontations with Evil in Julia Alvarez’s How I Learned to Sweep and William Blake’s The Chimney Sweeper

\"A Joyful Melancholy\": Nature and Beauty in Mary Oliver’s First Snow and William Wordsworth’s I Wandered Lonely as a Cloud

\"Knowing Deep the Seasons\": Antitheses of Life in John Keats’s To Autumn and William Carlos Williams’s Spring and All

Writing Research Papers

Composing in Other Art Forms

16. Rhythm and Meter: Feeling the Beat, the Flux, and the Flow

Rhythm

e. e. cummings, Buffalo Bill’s

Meter

Paul Laurence Dunbar, We Wear the Mask

CHECKLIST on Reading for Rhythm and Meter

Further Reading

Lucille Clifton, at the cemetery, walnut grove plantation, south carolina, 1989

Lorna Dee Cervantes, Freeway 280

Robert Frost, The Road Not Taken

Naomi Shihab Nye, The Small Vases From Hebron

A. K. Ramanujan, Self-portrait

Emily Dickinson, I’m Nobody! Who are you?

Sylvia Plath, Metaphors

Georgia Douglas Johnson, Wishes

Responding Through Writing

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Rhythm and Meter

Writing About Connections

\"Grief beyond Grief\": Dealing with Death in Ben Jonson’s On My First Son and Michael S. Harper’s Nightmare Begins Responsibility

\"Remembering the Unremembered\": The Language of Preservation in Lucille Clifton’s at the cemetery, walnut grove plantation, south carolina, 1989 and Thomas Gray’s Elegy Written in a Country Churchyard

\"On the Road Again\": The Search for Self in Lorna Dee Cervante’s Freeway 280 and Alfred, Lord Tennyson’s Ulysses

Writing Research Papers

Composing in Other Art Forms

17. Writing about Poetry: Applying What You’ve Learned

Topics

Development

A Student Writer at Work: Dan Carter on the Writing Process

Student Paper: Dan Carter, ÒA Slant on the Standard Love SonnetÓ

18. A Theme in Depth: Explicating the Everyday

*Julia Alvarez, Ironing Their Clothes

*Laure-Anne Bosselaar, Bench in Aix-en-Provence

*Lucille Clifton, Cutting Greens

*Billy Collins, Days

*Emily Dickinson, I heard a Fly buzz

Rita Dove, The Satisfaction Coal Company

Robert Frost, Mending Wall

*Christopher Gilbert, Touching

*Ben Jonson, Inviting a Friend to Supper

*Ted Kooser, Applesauce

*Li-Young Lee, Braiding

*Denise Levertov, The Acolyte

*Pablo Neruda (Chile), Ode to French Fires

Naomi Shihab Nye, The Small Vases from Hebron

Simon Ortiz, Speaking

*Jack Ridl, Love Poem

*Len Roberts, At the Train Tracks

*William Stafford, Notice What This Poem Is Not Doing

*Mary Tallmountain, Peeling Pippins

*Nancy Willard, The Potato Picker

*William Carlos Williams, The Is Just to Say

*William Wordsworth, I wandered lonely as a cloud

*Jeff Gundy, A Review of Delights and Shadows by Ted Kooser

*Sarah Jensen, A Review of Broken Symmetry by Jack Ridl

*William Stafford, The Importance of the Trivial

*Louis Simpson, from Important and Unimportant Poems

*Bill Moyers, An Interview with Naomi Shihab Nye

*Ted Kooser, Out of the Ordinary

*Paul Lake, The Malady of the Quotidian

*Donna A. Rohrer, William Carlos Williams’s Poetics: Turning the Ordinary into the Beautiful

19. A Collection of Poems: Valuing a Variety of Voices

Ai, Why Can’t I Leave You?

Agha Shahid Ali, I Dream It Is Afternoon When I Return To Delhi

Anonymous, Sir Patrick Spens

*Margaret Atwood, True Stories

W. H. Auden, MusŽe Des Beaux Arts

Joseph Awad, Autumnal

Jimmy Santiago Baca, Family Ties

Jim Barnes, Return To La Plata, Missouri

Gerald Barrax, Dara

Elizabeth Bishop, In the Waiting Room

William Blake, The Chimney Sweeper

Peter Blue Cloud, Rattle

Eavan Boland, The Pomegranate

Anne Bradstreet, To My Dear and Loving Husband

Sterling Brown, Riverbank Blues

Elizabeth Barrett Browning, How do I love thee? Let me count the ways

*Anthony Butts, Ferris Wheel

*Ana Castillo, I Heard the Cries of Two Hundred Children

Sandra Castillo, Exile

Rosemary Catacalos, David Talam‡ntez on the Last Day of Second Grade

*Tina Chang, Origin & Ash

Marilyn Chin, Turtle Soup

Samuel Taylor Coleridge, Kubla Khan

Jayne Cortez, Into This Time

Victor Hernandez Cruz, Problems with Hurricanes

e. e. cummings, in Just —

Keki N. Daruwalla, Pestilence

Toi Derricotte, A Note on My Son’s Face

Emily Dickinson, Because I could not stop for death

Emily Dickinson, Much Madness is divinest Sense

Ana Doina, The Extinct Homeland — A Conversation with Czeslaw Milosz

*John Donne, Death, be not proud

Mark Doty, Tiara

Cornelius Eady, My Mother, If She Had Won Free Dance Lessons

T. S. Eliot, The Love Song of J. Alfred Prufrock

Louise Erdrich, A Love Medicine

Mart’n Espada, The Saint Vincent de Paul Food Pantry Stomp

Sandra Mar’a Esteves, A la Mujer Borrinque–a

Carolyn Forche, The Colonel

*Vievee Francis, Private Smith’s Primer

Allen Ginsburg, A Supermarket in California

Nikki Giovanni, Nikka-Rosa

Ray Gonzalez, Praise the Tortilla, Praise the Menudo, Praise the Chorizo

Thomas Gray, Elegy Written in a Country Churchyard

Kimiko Hahn, Mother’s Mother

*Donald Hall, The Names of Horses

Michael S. Harper, Nightmare Begins Responsibility

Samuel Hazo, For Fawzi in Jerusalem

Seamus Heaney, Digging

George Herbert, The Pulley

David Hernandez, The Butterfly Effect

Robert Herrick, To the Virgins to Make Much of Time

Linda Hogan, The History Of Red

A. E. Housman, To an Athlete Dying Young

*Langston Hughes, Theme for English B

Lawson Fusao Inada, Plucking Out a Rhythm

*Honoree Fanonne Jeffers, Outlandish Blues (The Movie)

Ben Jonson, On My First Son

*A. Van Jordan, From

John Keats, Ode on a Grecian Urn

*Jane Kenyon, From Room to Room

Galway Kinnell, Saint Francis and the Sow

Etheridge Knight, Hard Rock Returns to Prison from the Hospital for the Criminal Insane

*Stanley Kunitz, Father and Son

*Gerry La Femina, The Sound a Body Makes

Li-young Lee, Visions and Interpretations

Philip Levine, What Work Is

*Timothy Liu, The Garden

Audre Lorde, Hanging Fire

Richard Lovelace, To Lucasta, Going to the Wars

Robert Lowell, Skunk Hour

*Medbh McGuckian, On Ballycastle Beach

Heather McHugh, What He Thought

Claude McKay, America

Christopher Marlowe, The Passionate Shepherd to His Love

Andrew Marvell, To His Coy Mistress

Orlando Ricardo Menes, Letter to Mirta Y‡–ez

John Milton, When I consider how my light is spent

Janice Mirikitani, For a Daughter Who Leaves

Marianne Moore, Poetry

Robert Morgan, Mountain Bride

*Thylias Moss, The Lynching

Duane Niatum, First Spring

*Lorine Niedecker, My Life by Water

Dwight Okita, In Response to Executive Order 9066

*William Olsen, The Fold-Out Atlas of the Human Body: A Three-Dimensional Book for Readers of All Ages

Michael Ondaatje, Biography

Ricadro Pau-llosa, Years of Exile

Gustavo Perez Firmat, Jose Conseco Breaks Our Hearts Again

*Lucy Perillo, Air Guitar

*Carl Phillips, To the Tune of a Small, Repeatable, and Passing Kindness

Wang Ping, Opening the Face

Robert Pinsky, Shirt

Sylvia Plath, Daddy

Sir Walter Raleigh, The Nymph’s Reply to the Shepherd

Dudley Randall, Ballad of Birmingham

*Mary Ruefle, Naked Ladies

Adrienne Rich, Diving into the Wreck

Alberto R’os, Nani

Wendy Rose, Loo-wit

Sonia Sanchez, An Anthem

Cheryl Savageau, Bones — A City Poem

Vijay Seshadri, The Refugee

*William Shakespeare, Shall I compare thee to a summer’s day?

Percy Bysshe Shelley, Ozymandias

*Charles Simic, Classic Ballroom Dances

Cathy Song, Girl Powdering Her Neck

Gary Soto, The Elements of San Joaquin

Edmund Spenser, One day I wrote her name upon the strand

Wallace Stevens, The Emperor of Ice Cream

*Mark Strand, Eating Poetry

*Virgil Su‡rez, Tea Leaves, Caracoles, Coffee Beans

Alfred, Lord Tennyson, Ulysses

Dylan Thomas, Do not go gentle into that good night

Jean Toomer, Face

Quincy Troupe, Poem for the Root Doctor of Rock ’n’ Roll

Gerald Vizenor, Shaman Breaks

Derek Walcott, Sea Grapes

James Welch, Christmas Comes to Moccasin Flat

*Patricia Jabbeh Wesley, Becoming Ebony

Roberta Hill Whiteman, The White Land

Walt Whitman, From Song of Myself

Richard Wilbur, Love Calls Us to the Things of This World

William Carlos Williams, Spring and All

Nellie Wong, Grandmother’s Song

*William Wordsworth, I Wandered Lonely as a Cloud

Sir Thomas Wyatt, They flee from me

John Yau, Chinese Villanelle

William Butler Yeats, The Second Coming

Al Young, A Dance for Ma Rainy

Ray A. Young Bear, Green Threatening Clouds

Reading Poems in Translation

Poems in Translation

Anna Akhmatova (Russia), Song of the Last Meeting

Yehuda Amichai (Israel), Wildpeace

Reza Baraheni (Iran), Autumn in Tehran

Jorge Luis Borges (Argentina), The Other Tiger

Julia De Burgos (Puerto Rico), Returning

Bei Dao (China), Night: Theme and Variations

Faiz Ahmed Faiz (Pakistan), A Prison Daybreak

Nazim Hikmet (Turkey), Letters from a Man in Solitary

Miroslav Holub (Czech Republic), Elementary School Field Trip to the Dinosaur Exhibit

Taslima Nasrin (Bangladesh), Things Cheaply Had

Pablo Neruda (Chile), The Dead Woman

Octavio Paz (Mexico), The Street

Dahlia Ravikovitch (Israel), Clockwork Doll

Masaoka Siki (Japan), Haiku

Wislawa Szymborska (Poland), On Death, without Exaggeration

Xu Gang (China), Red Azalea on the Cliff

PART IV. APPROACHING DRAMA

20. Reading Drama: Participating in a Playful Pretence

What Is Drama?

Why Read Drama?

Active Reading: Drama

Rereading Drama

21. Character, Conflict, and Dramatic Action: Thinking about Who Does What to Whom and Why

*Kelly Stuart, The New New

Character

Dialogue

Conflict

Dramatic Action

CHECKLIST for Reading about Character, Conflict, and Dramatic Action

Further Reading

*Cusi Cram, West of Stupid

Responding Through Writing

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Character, Conflict, and Dramatic Action

Writing About Connections

\"Souls for Sale\": The Cost of Devaluing Values in Kelly Stuart’s The New New and Arthur Miller’s Death of a Salesman

\"Death Draws Near\": The Imminence of Mortality in Cusi Cram’s West of Stupid and David Henry Hwang’s As the Crow Flies

\"Spinning Out of Control\": The Search for Meaning in John Guare’s Woman at a Threshold, Beckoning and William Shakespeare’s Hamlet

Writing Research Papers

Composing in Other Art Forms

22. Setting and Structure: Examining Where, When, and How It Happens

Setting

Susan Glaspell, Trifles

Structure

CHECKLIST for Reading about Setting and Structure

Further Reading

David Ives, Sure Thing

Responding Through Writing

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Setting and Structure

Writing About Connections

\"By a Higher Standard\": The Conflict of Law and Justice in Susan Glaspell’s Trifles and Sophocles’s Antigone

\"Living on a smile and a handshake\": Seling Yourself in David Ive’s Sure Thing and Arthur Miller’s Death of a Salesman

\"Serving Time in Invisible Prisons\": Social Entrapments in Henrik Ibsen’s A Doll House and August Wilson’s Fences

Writing Research Papers

Composing in Other Art Forms

23. Theaters and Their Influence: Imagining the Impact of Stage and Space

The Greek Theater

The Elizabethan Theater

The Modern Theater

The Contemporary Theater

CHECKLIST for Reading about Theaters and Their Influence

Further Reading

David Henry Hwang, As the Crow Flies

Responding Through Writing

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Theaters and Their Influence

Writing About Connections

\"I Gotta Be Me\": Identity and Inter-relationships in John Leguizamo’s Mambo Mouth: A Savage Comedy and David Ive’s Sure Thing

\"Dogs Eating Dogs\": The Dramatic Depiction of Racial Oppression in John Leguizamo’s Mambo Mouth: A Savage Comedy and Suzan-Lori Park’s Topdog/Underdog

\"Fathers and Sons\": Familial Conflict in William Shakespeare’s Hamlet and August Wilson’s Fences

Writing Research Papers

Composing in Other Art Forms

24. Dramatic Types and Their Effects: Getting into Genres

Tragedy

Comedy

Three Other Dramatic Types

CHECKLIST on Reading about Dramatic Types and Their Effects

Further Reading

John Leguizamo, From Mambo Mouth: A Savage Comedy

Responding Through Writing

Journal Entries

Literary Analysis Papers

Comparison-Contrast Papers

TIPS on Writing about Dramatic Types and Their Effects

Writing About Connections

\"The Haunted Heart\": The Presence and Significance of Ghosts in David Henry Hwang’s As the Crow Flies and William Shakespeare’s Hamlet

\"A House Divided\": Tyranny vs. Freedom in a Tragedy — Sophocle’s Antigone — and a Problem Play — Henrik Ibsen’s A Doll House

\"Everyone Loses\": The Games People Play in Suzan-Lori Parks’s Topdog/Underdog and Arthur Miller’s Death of a Salesman

Writing Research Papers

Composing in Other Art Forms

25. Writing about Drama: Applying What You’ve Learned

Topics

Development

A Student Writer at Work: Julian Hinson on the Writing Process

Student Paper: Julian Hinson, ÒWhen the New is Old in The New NewÓ

26. A Form in Depth: August Wilson’s Fences: Wrestling with One Writer’s Work

August Wilson, Fences

*Reviews and Photos of Fences

*Lloyd Richards, Fences: Introduction

*Clive Barnes, Fiery Fences [a Review*

*Frank Rich, Family Ties in Wilson’s Fences

*Bonnie Lyons, An Interview with August Wilson

*Miles Marshall Lewis, Miles Marshall Lewis Talks with August Wilson

*Missy Dehn Kubitschek, August Wilson’s Gender Lesson

*Harry J. Elam, Jr., August Wilson

*Suson Koprince, Baseball as History and Myth in August Wilson’s Fences

27. A Collection of Plays: Viewing from a Variety of Vantage Points

*Sophocles, Antigone

*William Shakespeare, Hamlet

Henrik Ibsen, A Doll House

Arthur Miller, Death of a Salesman

*Suzan-Lori Parks, Topdog/Underdog

*John Guare, Woman at a Threshold, Beckoning

Responding Through Writing

Papers Using No Outside Sources

Papers Using Limited Outside Sources

Papers Involving Further Research

PART V. APPROACHING LITERARY RESEARCH

28. Reading Critical Essays: Listening to the Larger Conversation

What Are Critical Essays?

Why Read Critical Essays?

Active Reading: Critical Essays

Sample Essay

Susan Farrell, \"Fight vs. Flight: A Re-evaluation of Dee in Alice Walker’s ‘Everyday Use’\"

Rereading Critical Essays

29. Writing a Literary Research Paper: Incorporating the Larger Conversation

Topics

Types of Research and Sources

Conducting Research on Contemporary Literature

Finding Sources and Creating a Working Bibliography

Research on Contemporary Literature

Evaluating Sources

Taking Notes

Developing Your Paper and Thesis

Incorporating Sources

Avoiding Plagiarism

Documention Sources: MLA Style

Preparing a Works Cited Page

A Student Writer at Work: Kristina Martinez on the Research Process

Student Paper: Kristina Martinez, \"The Structure of Story in Toni Morrison’s ‘Recitatif’\"

Biographical Sketches

Appendix on Scansion

Approaching Critical Theory

Glossary of Literary Terms

Index of Authors and Titles

* new to this edition

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Mobile Rows Clusters JSON XML Excel CSV

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