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Summary: Relying on engaging selections, a strong emphasis on the writing process, and a visually appealing design, Exploring Poetry puts forth a guiding philosophy that a reader's personal response to poetry forms the foundation of his or her literary experience. This book presents a comprehensive coverage of both reading and writing of poetry. Writing assignments and prompts stimulate critical thinking about works of literature. "Two Readers, Two Choices" feature ...show moreillustrates diversity of opinion and the various ways in which poetry can be read. This alphabetically arranged anthology covers a broad selection of classic and contemporary poetry. Additional features include a case study on poems and painting, author photos, a glossary of literary terms, an overview of literary criticism and advice on research and documentation. For anyone interested in poetry and literature.
About the Author.
I. MAKING CONNECTIONS.
1. Participation: Personal Response and Critical Thinking.
The Personal Dimension of Reading Poetry.
Personal Response and Critical Thinking.
Writing to Learn.
Keeping a Journal or Reading Log.
Double-Entry Journals and Logs.
The Social Nature of Learning: Collaboration.
Personal, Not Private.
Ourselves as Readers.
Different Kinds of Reading.
Advice to My Son, Peter Meinke.
Images of Ourselves.
Zimmer in Grade School, Paul Zimmer.
Culture, Experience, and Values.
Incident, Countee Cullen.
Those Winter Sundays, Robert Hayden.
Barbie Doll, Marge Piercy.
Being in the Moment.
Birmingham Bomb Kills 4 Negro Girls; Riots Flare; 2 Boys Slain (from New York Times).
Ballad of Birmingham, Dudley Randall.
The Whole and Its Parts.
Participating, Not Solving.
Responding to Language.
Denotation and Connotation.
The Naked and the Nude, Robert Graves.
Using our Imaginations.
Writing to Imagine: Creating Images through Comparison.
Woman, Nikki Giovanni.
Creating Images through Concrete Sensory Descriptions.
The Traveling Onion, Naomi Shihab Nye.
2. Communication: Writing About Poetry.
The Response Essay.
Voice and Writing.
Voice and Response to Poetry.
Writing to Describe.
Choosing Details from Poetry.
Writing to Compare.
Comparing and Contrasting Using a Venn Diagram.
Response to Poetry: Describing and Comparing.
Staying Anchored in the Poem.
From First Response to Final Draft.
Using First Responses.
Semantic Mapping or Clustering.
Mix and Match.
The Response Essay: Composing a Draft.
Student First Draft.
Organization and Unity.
Student Revised Draft.
II. ANALYSIS AND ARGUMENTATION.
3. Exploration and Analysis: The Elements of Poetry.
Your First Response.
Annotating the Text.
Ozymandias, Percy Bysshe Shelley.
Poetry in Its Many Contexts.
Your Critical Approach.
Reading and Analyzing Poetry.
Language and Style.
War Is Kind, Stephen Crane.
The Word 'Plum, Helen Chassin.
Meeting at Night, Robert Browning.
Figurative Language: Everyday Poetry.
A Dream Deferred, Langston Hughes.
Simile, N. Scott Momaday.
Fog, Carl Sandburg.
The Wind, James Stephens.
The Guitarist Tunes Up, Frances Cornford.
The Road Not Taken, Robert Frost.
The Hug, Tess Gallagher.
Sound and Structure.
Finding the Beat: Limericks.
Rhyme, Alliteration, Assonance.
Sonnet #29, William Shakespeare.
Love Is Not All, Edna St. Vincent Millay.
When I Heard the Learn'd Astronomer, Walt Whitman.
Interpretation: What Does the Poem Mean?
Theme or Moral.
Types of Poetry.
Getting Ideas for Writing about Poetry.
Pigeon Woman, May Swenson.
Generating Ideas for Writing.
4. Argumentation: Interpreting and Evaluating Poetry.
The Critical Essay.
Choosing a Topic: Process and Product.
Writing to Analyze or Explicate.
Writing to Compare.
Writing about the Beliefs or Actions of the Speaker.
Writing about Poetry in Context.
Critical Thinking: Induction and Substantiation.
Thinking Critically about Poetry.
Facts and Opinions.
Ex-Basketball Player, John Updike.
Interpretation: What Do You Think It Means?
A Defensible Interpretation, Not the Right Answer.
Developing an Interpretation.
Language and Form.
The Whole: Theme.
Beliefs or Actions Expressed by the Speaker or Characters.
The Work in Context.
Interpretation or Evaluation.
Evaluation: How Well Does It Work?
Developing Standards for Evaluating Poetry.
Your Own Standards: Expectations and Intentions.
Standards for Evaluating Poetry.
Generating Ideas for a Critical Essay.
Argumentation: Writing a Critical Essay.
The Shape of an Argument.
Planning Your Argument.
Supporting Your Argument.
Opening, Closing, and Revising Your Argument.
A Student's Critical Essay: Explication and Evaluation.
III. AN ANTHOLOGY OF POETRY.
On the Amtrak from Boston to New York City, Sherman Alexie.
Dusting, Julie Alvarez.
Phenomenal Woman, Maya Angelou.
To Live in the Borderlands Means You, Gloria Anzuldua.
Dover Beach, Matthew Arnold.
Siren Song, Margaret Atwood.
You Fit Into Me.
The Unknown Citizen, W.H. Auden.
The Mother, Gwendolyn Brooks.
We Real Cool.
London, William Blake.
The Chimney Sweeper.
To See a World in a Grain of Sand.
In the Waiting Room, Elizabeth Bishop.
Porphyria's Lover, Robert Browning.
Jabberwocky, Lewis Carroll.
Sweet Mama Wanda Tells Fortunes for a Price, Wanda Coleman.
Victoria's Secret, Billy Collins.
My Father in the Navy: A Childhood Memory, Judith Ortiz Cofer.
A Man Said to the Universe, Stephen Crane.
Incident, Countee Cullen.
anyone lives in a pretty how town, e.e. cummings.
somewhere I have never traveled.
Icarus Again, Alan Devenish.
I heard a fly buzz when I died, Emily Dickinson.
Tell all the truth but tell it slant.
After great pain, a formal feeling comes.
Much Madness is divinest Sense.
She Sweeps with many-colored brooms.
There is a certain slant of light.
Success is Counted Sweetest.
The Flea, John Donne.
Death Be Not Proud.
A Valediction Forbidding Mourning.
Brilliance, Mark Doty.
We Wear the Mask, Paul Laurence Dunbar.
The Love Song of Alfred J. Prufrock, T.S. Eliot.
Late Night at the Pawn Shop, Martin Espada.
Constantly Risking Absurdity, Lawrence Ferlinghetti.
Pitcher, Robert Francis.
Fire and Ice, Robert Frost.
Out, Out . . .
Losses that Turn Up in Dreams, Elizabeth Gaffney.
A Supermarket in California, Allen Ginsberg.
Nikki-Rosa, Nikki Giovanni.
Snowdrops, Louise Gluck.
Ella, in a Square Apron, Along Highway 80, Judy Grahn.
Sonnet Ending with a Film Subtitle, Marilyn Hacker.
Hap, Thomas Hardy.
The Man He Killed.
Digging, Seamus Heaney.
Pied Beauty, Gerard Manley Hopkins.
The Loveliest of Trees, A.E. Housman.
When I was one-and-twenty.
I, Too, Langston Hughes.
The Negro Speaks of Rivers.
Secretary, Ted Hughes.
When I have Fears That I May Cease to Be, John Keats.
Saint Francis and the Sow, Galway Kinnell.
The Dead Shall Be Raised Incorruptible.
Night Sounds, Carolyn Kizer.
Facing It, Yusef Komunyakka.
After Love, Maxine Kumin.
Aubade, Philip Larkin.
This Be the Verse.
How To Watch Your Brother Die, Michael Lassell.
The Gift, Li-Young Lee.
Patterns, Amy Lowell.
Ars Poetica, Archibald MacLeish.
The Passionate Shepherd to His Love, Christopher Marlowe.
To His Coy Mistress, Andrew Marvell.
America, Claude McKay.
If I Should Learn, in Some Quite Casual Way, Edna St. Vinvent Millay.
What Lips My Lips have Kissed, and Where, and Why.
How Soon Hath Time, John Milton.
When I Consider How My Light Is Spent.
For My Father, Janice Mirikatani.
Poetry, Marianne Moore.
Immigrants, Pat Mora.
Ode to My Socks, Pablo Neruda.
Sex Without Love, Sharon Olds.
Dulce et Decorum Est Pro Patria Mori, Wilfred Owen.
Marks, Linda Pastan.
To Be of Use, Marge Piercy.
Mirror, Sylvia Plath.
The Nymph's Reply, Walter Raleigh.
Diving into the Wreck, Adrienne Rich.
The Purpose of Altar Boys, Alberto Rios.
Mr. Flood's Party, Edwin Arlington Robinson.
Elegy for Jane, Theodore Roethke.
My Papa's Waltz.
Grass, Carl Sandburg.
Cinderella, Anne Sexton.
Pain for a Daughter.
Shall I Compare Thee to a Summer's Day (Sonnet 18), William Shakespeare.
Let Me Not to the Marriage of True Minds (Sonnet 116).
My Mistress's Eyes Are Nothing Like the Sun (Sonnet 130).
When My Love Swears That She Is made of Truth (Sonnet 138).
That Time of Year Thou Mayst in Me Behold (Sonnet 73).
The Pleasure of Reading, Charles Simic.
Telephone Conversation, Wole Soyinka.
The Youngest Daughter, Cathy Song.
Traveling Through the Dark, William Stafford.
The Emperor of Ice Cream, Wallace Stevens.
Ulysses, Alfred, Lord Tennyson.
Do Not Go Gentle Into that Good Night, Dylan Thomas
The Force that through the Green Fuse Drives the Flower.
Reapers, Jean Toomer.
The Mosquito, John Updike.
From Song of Myself, Walt Whitman.
At the Ball Game, William Carlos Williams.
This Is Just to Say.
Composed on Westminster Bridge, William Wordsworth.
I Wandered Lonely as a Cloud.
My Heart Leaps Up.
A Blessing, James Wright.
The Question of Loyalty, Mitsuyi Yamada.
Nighthawks, Samuel Yellen.
The Lake Isle of Innisfree, William Butler Yeats.
When You Are Old.
Case Study on Poems and Painting: Thinking About Interpretation, Poetry, and Painting.
Landscape with the Fall of Icarus, Pieter Brueghel.
Musée des Beaux Arts, W.H. Auden.
Icarus Again, Alan Devenish.
Crucificxion, Jacopo Tintoretto.
Before an Old Painting of the Crucifixion, N. Scott Momoday.
Nighthawks, Edward Hopper.
Nighthawks, Samuel Yellen.
The Starry Night, Vincent Van Gogh.
The Starry Night, Anne Sexton.
The Love Letter, Jan Vermeer.
When a Woman Holds a Letter, Sandra Nelson.
The Old Guitarist, Pablo Picasso.
The Man with the Blue Guitar, Wallace Stevens.
Mourning Picture, Edwin Romanzo Elmer.
Mourning Picture, Adrienne Rich.
The Gleaners, Jean-Francois Millet.
The Clark Institute: Labor Day, 1999, Mary Ellen LeClair.
Appendix A: Critical Approaches to Literature.
Appendix B: Research and Documentation: Writing with Secondary Sources.
Documentation Some Basics.
What Must Be Documented.
Where and How.
Evaluating Sources from the Internet.
The Physical Layout of the Research Essay.
Documentation MLA Style.
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