SHORTSTORIES

CONTENTS

READING ACTIVELY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 2

MODELAnita Desai. . . . . . . . . . . . . . . . . Gamesat Twilight. . . . . . . . . . . . . .. 3

PLOT Jack Finney. . . . . . . . . . . . . . . . Contentsof the DeadMan'sPocket. . . . .. .. . .. . .. .. .. .. ., 17

W.W.Jacobs. .. .. .. .. . .. .. . The Monkey'sPaw.. . .. . .. .. ... 31Multicultural Connection: Fatein WorldFolklore. . . . . . . . . . . . .. 37

Carl Stephenson. . . . . . . . . . . . LeiningenVersustheAnts. . . . .. 43R. K. Narayan.. .. .. . .. .. .. .. Old Manof the Temple.. .. .. ... 61

Multicultural Connection: Ghost Stories Around the World... ., 62

.CHARACTERIZATIONWilliam Melvin Kelley. . . . . . .Juanita Plateroand

SiyowinMiller. .. .. .. . .. ..Mark Twain. . . .. .. . .. . . .. .. .

POINT OF VIEW

SETTING

A Visit to Grandmother. . . . . . . .. 69

Chee'sDaughter. .. .. .. .. .. 77Luck. . . . . . . . . . . . . . . . . . . . . . . . . .. 89

Darryl Babe Wilson. . . . . . . . . Diamond Island: Alcatraz 97One Writer's Process: Darryl Babe Wilson

and "Diamond Island" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 104Julio Cortazar .. .. . Axolotl. .. .. . . . .. . . .. . . ... . . ... 107

Italo Calvino Mushroomsin the City. . . . . . .. 115

Ray Bradbury There Will Come Soft Rains... 121Josephina Niggli .. . . .. . .. .. The Street of the Canon. . . . . .. 127

Multicultural Connection: Marriage Customs. . . . . . . . . . . . . . .. 128Stephen Vincent Benet By the Waters of Babylon. . . . .. 135Doris Lessing Through the Tunnel. . ... 147

SYMBOL,TONE, Toshio Mori . . . . . . . . . . . . . . . .ANDIRONY Colette.. . .. .. .. .. .. .. .. . .. .

EdgarAllanPoe ............

~

Abalone, Abalone, Abalone. . .. 157The Portrait. .. .. .. .. .. . . .. 161The Masque of the

Red Death. .. .. .. .. .. .. 167

v

THEME

DRAMA

Multicultural Connection: Poe's InfluenceAround the World. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . .. 174

Saki (H. H. Munro) The Open Window 177Isaac Asimov """"""'" The MachineThatWon

the War. . . . . . . . . . . . . . . . . . .. 183

Bei Dao . . . . . . . . . . . . . . . . . . . . The Homecoming Stranger. . .. 191Multicultural Connection: Political Strife

and Human Suffering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 204Alan Paton. . . . . . . . . . . . . . . . . Sunlightin TrebizondStreet. . .. 207Chinua Achebe CivilPeace. .. . . .. . . .. . .. .. ... 215IsakDinesen . .. . .. .. . . .. .. . TheRing. . .. .. . .. .. .. .. .. .. .. 221

READINGAND RESPONDING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 228MODEL

Anne Tyler. . . .. .. .. . .. .. .. .. With All Flags Flying.. .. ... ... 229

YOUR WRITING PROCESS: Exposition/PersuasionWriting a News Report.. .. . .. . .. . . .. .. . .. .. .. .. .. .. . .. . .. .. 242

YOUR WRITING PROCESS: Narration

Writing an Imaginary Narrative. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 244

READING ACTIVELY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 248

Howard Koch Invasion From Mars 251

THE GREEKTHEATER Sophocles. . . . . . . . . . . . . . . . . . Antigone. . . .. . . . . .. . .. . . .. ... 275Multicultural Connection: Burial Customs

Across Cultures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 287

THESHAKESPEAREANWilliam Shakespeare. .. . .. .THEATER

vi

The Tragedy ofJulius Caesar. . . . . . . . . . . . .. 309

YOURWRITING PROCESS: Creative WritingWriting a New Version of a Scene. . . . . . . . . . . . . . . . . . . . . . . . .. 398

YOUR WRITING PROCESS: DescriptionWriting a Descriptive Memo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 400

.."

.'.'."""' .~NONFICTION

-

READING ACTIVELY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 404MODEL

James Thurber. . . . . . . . . . . . . The Dog That Bit People. . . . .. 405

BIOGRAPIflESAND Van Wyck Brooks. . . . . . . . . .PERSONALACCOUNTS Langston Hughes. . . . . . . . . .

Emily Dickinson 415Marian Anderson: Famous

Concert Singer. . . . . . . . . . . .. 427Dylan Thomas. . . . . . . . . . . . . . A Child's Christmas in Wales.. 433

Multicultural Connection: Christmas in Different Places. . . . .. 435Truman Capote A Christmas Memory 443

TYPESOFESSAYS Rudolfo A. Anaya. . . . . . . . . . . from In Commemoration:One Million Volumes. . . . . . .. 457

N. Scott Momaday from The Way toRainy Mountain. . . . . . . . . . . .. 465

Annie Dillard.. .. . .. .. . .. .. . Flood.. .. . . .. .. .. . .. .. . .. .. ... 473Evan S. Connell. . from The White Lantern. .. . ... 4'81Lorraine Hansberry. . . . . . . . . On Summer. . . . . . . . . . . . . . . . .. 493Mary Gordon. . . . . . . . . . . . . . . MaryCassatt. . . . . . . . . . . . . . . .. 499

One Writer's Process: Mary Gordon and "Mary Cassatt" """ 504

ESSAYSIN THE ARTS Lewis Thomas. . . . . . . . . . . . . .AND SCIENCES

Noteson Punctuation(LanguageArts) 507

The American Idea (History) ... 511The CreativeProcessin Music

(Music) .. .. .. .. .. . .. .. .. ... 515Alex Katz's The Table (Art) . ... 523The MarginalWorld

(Science) .. .. . .. . .. .. .. 527

READINGAND RESPONDING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 534MODELThomas Boswell. . . . . . . . . . . . Glove's Labor Lost. . . . . . . . . . .. 535

Theodore H. White. . . . . . . . . .

Aaron Copland. . . . . . . . . . . . .

Ann Beattie. . . . . . . . . . . . . . . . .Rachel Carson. . . . . . . . . . . . . .

YOUR WRITING PROCESS: ExpositionWriting a Reflective Essay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 540

YOUR WRITING PROCESS: NarrationWriting a Reminiscence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 542

vii

POETRY

READING ACTIVELY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 546

MODELNaomi Long Madgett Alabama Centennial 547

NARRATIVEPOETRY JohnKeats. . . . . . . . . . . . . . . . .Robert Frost. . . . . . . . . . . . . . . .

Henry Wadsworth Longfellow

La BelleDamesans Merci . . .. 553TwoTrampsin MudTime. . . . .. 557The Wreckof the Hesperus. . .. 563

DRAMATICPOETRY RudyardKipling. . . . . . . . . . . . DannyDeever 569W. H. Auden 0 What Is ThatSound. . . . . . .. 573

MulticulturalConnection:Poetryandthe OralTradition. . . . . .. 575EdgarAllanPoe Eldorado .. . . . . . . . . . . . . . . . . . .. 577

THE SPEAKER GwendolynBrooks. . . . . . . . . The Sonnet-Ballad. . . . . . . . . . .. 582AND TONE Dorothy Parker. . . . . . . . . . . . . One Perfect Rose. . . . . . . . . . . .. 584

SamuelAllen(PaulVesey) .. To Satch . . .. . . . .. . .. . . .. .. . .. 585Multicultural Connection: Negro Baseball Leagues.. . . . . ... .. 586

LYRICPOETRY

FIGURATIVELANGUAGE

vjjj

PaulVerlaine ...............GabrielaMistral. . . . . . . . . . . .NaomiShihabNye ..........AmyLowell ,..Yevgeny Yevtushenko . . . . . .

James Wright. . . . . . . . . . . . . .Octavio Paz. . . . . . . . . . . . . . . .

Mary Oliver. . . . . . . . . . . . . . . . .

Autumn Song. . . . . . . . . . . . . . . .. 590I Am Not Lonely. . . . . . . . . . . . .. 591Making a Fist. . . . . . . . . . . . . . . .. 592Generations. . . . . . . . . . . . . . . . .. 594When Your Face

Came Rising. . . . . . . . . . . . . .. 595A Blessing. . . . . . . . . . . . . . . . . . .. 598The Street. . . . . . . . . . . . . . . . . . .. 600A LetterfromHome.. . . .. . 601

LucilleClifton. . . . . . . . . . . . . . miss rosie 606SharonOlds Sizeand SheerWill. . . . . . . . . .. 607Eve Merriam. . . . . . . . . . . . . . . . Metaphor. . . . . . . . . . . . . . . . . . . .. 608

PhilipBooth. . .. .. .. ... .... . FirstLesson.. .. .. ... 609Amy Lowell Night Clouds 612Mbuyiseni Oswald Mtshali .. Sunset 613ColleenJ. McElroy.. .. .. .. . . a pied. .. .. .. .. . . . . .. .. .. . 614

One Writer's Process: Colleen J. McElroy and "a pied" . . . . . .. 616Emily Dickinson. . . . . . . . . . . . The Wind-tapped like

atiredMan 618

IMAGERY

MUSICAL DEVICES

Theodore Roethke ..........A. R. Ammons.. .. .. .. .. .. ..Jorge Luis Borges.. .. .. .. ..Jean Toomer. . . . . . . . . . . . . . . .Elizabeth Bishop. ...........Robert Francis. . . . . . . . . . . . . .Nazim Hikmet ...............

Robert Burns. . . . . . . . . . . . . . .

Alfred, Lord Tennyson. . . . . .Pawnee.. .. .. .. .. .. .. . . . . .. ..

Carl Sandburg. . . . . . . . . . . . . .John McCrae. . . . . . . . . . . . . . . .

FORMS William Shakespeare. . . . . . . .

Elinor Wylie. . . . . . . . . . . . . . . . .

Hyakuchi, Chiyojo, Basho,and Issa ...................

John Updike.. .. . .. .. .. .. .. .Lawrence Ferlinghetti

THEMES Frank Horne. . . . . . . . . . . . . . . .

Karl Shapiro. . .. . . .. . .. . . . .. .Quincy Troupe. . . . . . .. . .. .. .

THE HEROICTRADITION

, Wisfawa Szymborska .. . . . . .

Big Wind. .. .. .. . .. .. .. .. .. 622Loss. . . . . . . . . . . . . . . . . . . . . . . . . .. 623

Afterglow. . . . . . . . . . . . . . . . . . . . .. 624Reapers. . . . . . . . . . . . . . . . . . . . . .. 628The Fish. .. .. . .. .. .. .. .. .. 629Pitcher. . . . . . . . . . . . . . . . . . . . . . .. 632The Bees. .. .. .. . .. .. . . . . . .. . .. 633

My ~eart's in the Highlands. .. 638The Splendor Falls.. .. . .. . 640BuffaloDance Song. . . . . . . . . .. 642Jazz Fantasia. . . . . . . . . . . . . . . . .. 644In Flanders Fields. .. .. .. .. 646

Shall I Compare Thee to aSummer'sDay? , 650

Puritan Sonnet. . . .. .. . . .. .. ... 652

Four Haiku. . . . . . . . . . . . . . . . . . .. 655Letter Slot. . . . . . . . . . . . . . . . . . . .. 660

Constantly Risking Absurdity. .. 661

To James. . . . . . . . . . . . . . . . . . . .. 666Auto Wreck. . . . . . . . . . . . . . . . . . .. 668

The Old People Speakof Death.. .. . .. .. . .. . . .. .. .. 670

The Number Pi 673

READING AND RESPONDING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 676

MODEL

John Updike. .. .. .. .. .. .. . .. Ex-Basketball Player. .. .. .. . ... 677

YOURWRITINGPROCESS: Creative WritingWriting a Poem. .. .. . .. . .. . .. . . .. . .. . . . . . .. . . . .. . . . . .. .. . .. ... 680

YOURWRITINGPROCESS: ExpositionWriting a Report of Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 682

READING ACTIVELY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 686

T. H. White. . . . . . . . . . . . . . . . . . Arthur Becomes Kingof Britain.. .. . .. . .. . .. .. . . ... 690

Sir Thomas Malory The Marriage of KingArthur. .. 701Alfred, Lord Tennyson. . . . . . Marte d'Arthur. .. .... .... ... ... 704

ix

THENOVEL

ADDITIONALFEATURES

x

R. K. Narayan. . . . . . ; . . . . . . . . from the Ramayana:Rama's Initiation. . . .. ... 717

from Sundiata: An Epicof Old Mali. . . . . . . . . . . . . . . .. 725

K'ung-ming BorrowsSome Arrows. . . . . . . . . . . . . .. 733

from Don Quixote. . . . . . . . . . . .. 739

D.T. Niane ..................

Lo Kuan-Chung .............

Miguel de Cervantes. . . . . . . .

YOUR WRITING PROCESS: Exposition/PersuasionWriting a Profile of a Hero. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 746

YOUR WRITING PROCESS: ExpositionWriting a Plan for a Mural Design """"""""""""" 748

READING ACTIVELY. .. .. .. .. .. .. .. .. . .. . .. . .. .. .. . .. . .. . .. . .. 752

John Knowles. . . . . . . . . . . . . . A Separate PeaceChapters 1-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 757

Chapters 5-10 791Chapters 11-13 . . " 843

Buchi Emecheta The Wrestling MatchChapters 1-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 879

Multicultural Connection: The Age-Group.. . . ... .. . .. . .. 886Chapters 8-14 """"""""""""""""""""""" 907

Multicultural Connection: The UniversalAppeal of Wrestling.. 925

YOURWRITINGPROCESS: ExpositionWriting a Book Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 930,

YOURWRITINGPROCESS: PersuasionWriting a Persuasive Recommendation. . . . . . . . . . . . . . . . . . . .. 932

Handbook of the Writing Process. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 934Handbook of Grammar and Revising Strategies. . . . . . . . . . . . . .. 942Handbook of Literary Terms and Techniques. . . . . . . . . . . . . . . .. 971Glossary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 993Index of Fine Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 1004Index of Skills. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 1007

Index of Titles byThemes. .. .. .. . . .. . .. . .. .. . .. . . .. .. . .. . ... 1011Index of Authors and Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 1015

Acknowledgments (continued) 1018