Appendix A
Araby James Joyce
North Richmond Street, being blind,1 was a quiet street except at the hour when the Christian Brothers' School set the boys free. An uninhabited house of two stories stood at the blind end, detached from its neighbors in a square ground. The other houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces.
The former tenant of our house, a priest, had died in the back drawing-room. Air, musty from having long been enclosed, hung in all the rooms, and the waste room behind the kitchen was littered with old useless papers. Among these I found a few papercovered books, the pages of which were curled and damp: The Abbot, by Walter Scott, The Devout Communicant and The Memoirs ofVidocq.2
I liked the last best because its leaves were yellow. The wild garden behind the house contained a central apple-tree and a few straggling bushes under one of which I found the late tenant's rusty bicycle-pump. He had been a very charitable priest; in his will he had left all his money to institutions and the furniture of his house to his sister.
When the short days of winter came dusk fell before we had well eaten our dinners. When we met in the street the houses had grown sombre. The space of sky above us was the colour of everchanging violet and towards it the
1 blind a dead-end street
2 The Abbot was one of Scott's popular historical romances. The Devout Communicant was a Catholic religious manual; The Memoirs ofVidocq were the memoirs of the chief of the French detective force.
354
JOYCE. "ARABY" 355
lamps of the street lifted their feeble lanterns. The cold air stung us and we played till our bodies glowed. Our shouts echoed in the silent street. The career of our play brought us through the dark muddy lanes behind the houses where we ran the gauntlet of the rough tribes from the cottages, to the back doors of the dark dripping gardens where odours arose from the ashpits, to the dark odorous stables where a coachman smoothed and combed the horse or shook music from the buckled harness. When we returned to the street light from the kitchen windows had filled the areas. If my uncle was seen turning the corner we hid in the shadow until we had seen him safely housed. Or if Mangan s sister came out on the doorstep to call her brother in to his tea we watched her from our shadow peer up and down the street. We waited to see whether she would remain or go in and, if she remained, we left our shadow and walked up to Mangan s steps resignedly. She was waiting for us, her figure defined by the light from the half-opened door. Her brother always teased her before he obeyed and I stood by the railings looking at her. Her dress swung as she moved her body and the soft rope of her hair tossed from side to side.
Every morning I lay on the floor in the front parlour watching her door. The blind was pulled down to within an inch of the sash so that I could not be seen. When she came out on the doorstep my heart leaped. I ran to the hall, seized my books and followed her. I kept her brown figure alwavs in my eve and, when we came near the point at which our ways diverged, I quickened my pace and passed her. This happened morning after morning. I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood.
Her image accoinpanied me even in places the most hostile to romance. On Saturday evenings when my aunt went marketing I had to go to carry some of the parcels. We walked through the flaring streets, jostled by drunken men and bargaining women, amid the curses of labourers, the shrill litanies of shop-boys who stood on guard by the barrels of pigs' cheeks, the nasal chanting of street-singers, who sang a come-all-you about O'Donovan Rossa,3 or a ballad about the troubles in our native land. These noises converged in a single sensation of life for me: I imagined that I bore my chalice safely through a throng of foes. Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears (I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the future. I did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused adoration. But my body was like a harp and her words and gestures were like fingers running upon the wires.
One evening I went into the back drawing-room in which the priest had died. It was a dark rainy evening and there was no sound in the house. Through one of the broken panes I heard the rain impinge upon the earth, the
'Jeremiah O'Donovan (1831-1915), a popular Irish leader who was jailed bv the British for advocating violent rebellion. a "come-all-you" was a topical song that began "Come all you gallant Irishmen."
6      APPENDIX A
fine incessant needles of water playing in the sodden beds. Some distant lamp or lighted window gleamed below me. I was thankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about to slip from them, I pressed the palms of my hands together until they trembled, murmuring: O love! O love! many times.
At last she spoke to me. When she addressed the first words to me I was so confused that I did not know what to answer. She asked me was I going to Araby.
I forget whether I answered yes or no. It would be a splendid bazaar, she said; she would love to go.
—And why can't you? I asked.
While she spoke she turned a silver bracelet round and round her wrist. She could not go, she said, because there would be a retreat that week in her convent. Her brother and two other boys were fighting for their caps and I was alone at the railings. She held one of the spikes, bowing her head towards me. The light from the lamp opposite our door caught the white curve of her neck, lit up her hair that rested there and, falling, lit up the hand upon the railing. It fell over one side of her dress and caught the white border of a petticoat, just visible as she stood at ease.
—It's well for you, she said.
—If I go, I said, I will bring you something.
What innumerable follies laid waste my waking and sleeping thoughts after that evening! I wished to annihilate the tedious intervening days. I chafed against the work of school. At night in my bedroom and by day in the classroom her image came between me and the page I strove to read. The syllables of the word Araby were called to me through the silence in which my soul luxuriated and cast an Eastern enchantment over me. I asked for leave to go to the bazaar on Saturday night. My aunt was surprised and hoped it was not some Freemason4 affair. I answered few questions in class, I watched my master's face pass from amiability to sternness; he hoped I was not beginning to idle. I could not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child's play, ugly monotonous child's play.
On Saturday morning I reminded my uncle that I wished to go to the bazaar in the evening. He was fussing at the hallstand, looking for the hat-brush, and answered me curtly:
—Yes, boy, I know.
As he was in the hall I could not go into the front parlour and lie at the window. I left the house in bad humour and walked slowly towards the school. The air was pitilessly raw and already my heart misgave me.
When I came home to dinner my uncle had not yet been home. Still it was early. I sat staring at the clock for some time and, when its ticking began to irritate me, I left the room. I mounfgd the staircase and gained the upper part of the house. The high cold empty gloomy rooms liberated me and I went from
4Irish Catholics viewed the Masons as their Protestant enemies.
JOYCE. AKABV
357
room to room singing. From the frcmt window 1 saw my companions plaving below in the street. Their cries reached me weakened and indistinct and, leaning my forehead against the cool glass, I looked over at the dark house where she lived. 1 mav have stood there for an hour, seeing nothing but the brown-clad figure cast by mv imagination, touched discreetly by the lamplight at the curved neck, at the hand upon the railings and at the border below the dress.
When I came downstairs again I found Mrs Mercer sitting at the lire. She was an old garrulous woman, a pawnbroker's widow, who collected used stamps for some pious purpose. I had to endure the gossip of the tea-table. The meal was prolonged beyond an hour aiid still mv uncle did not come. Mrs Mercer stood up to go: she was sorry she couldn't wait anv longer, but it was after eight o'clock and she did not like to be out late, as the night air was bad for her. When she had gone I began to walk up and down the room, clenching mv fists. Mv aunt said:
—I'm afraid von mav put off your bazaar for this night of Our Lord.
At nine o'clock I heard my uncle's latchkev in the halldoor. 1 heard him talking to himself and heard the hallstand rocking when it had received the weight of his overcoat. I could interpret these signs. When he was midway through his dinner I asked him to give me the monev to go to the bazaar. He had forgotten.
—The people are in bed and after their first sleep now, he said. I did not smile. My aunt said to him energetically:
—Can't vou give him the money and let him go? You've kept him late enough as it is.
My uncle said he was very sorry he had forgotten. He said he believed in the old saving: All work and no play makes Jack a dull hoi/. He asked me where I was going and, when I had told him a second time he asked me did 1 know The Arab's Farewell to His Steed.5
When I left the kitchen he was about to recite the opening lines of the piece to mv aunt.
I held a florin tightly in my hand as I strode down Buckingham Street towards the station. The sight of the streets thronged with buyers and glaring with gas recalled to me the purpose of mv journev. I took my seat in a third-class carriage of a deserted train. After an intolerable delay the train moved out of the station slowly. It crept onward among ruinous houses and over the twinkling river. At Westland Row Station a crowd of people pressed to the carriage doors; but the porters moved them back, saying that it was a special train for the bazaar. I remained alone in the bare carriage. In a few minutes the train drew up beside an improvised wooden platform. I passed out on to the road and saw bv the lighted dial of a clock that it was ten minutes to ten. In front of me was a large building which displayed the magical name.
I could not find any sixpenny entrance and, fearing that the bazaar would be closed, I passed in quickly through a turnstile, handing a shilling to a weary-
5 "The Arab to His Favorite Steed" was a popular sentimental poem by Caroline Norton (1808-77).
8       APPENDIX A
looking man. I found myself in a big hall girdled at half its height by a gallery. Nearly all the stalls were closed and the greater part of the hall was in darkness. I recognised a silence like that which pervades a church after a service. I walked into the center of the bazaar timidly. A few people were gathered about the stalls which were still open. Before a curtain, over which the words Cafe Chantant were written in coloured lamps, two men were counting money on a salver. I listened to the fall of the coins.
Remembering with difficult)' why I had come I went over to one of the stalls and examined porcelain vases and flowered teasets. At the door of the stall a young lady was talking and laughing with two young gentlemen. I remarked their English accents and listened vaguely to their conversation.
—O, I never said such a thing!
—O, but you did!
—O, but I didn't!
—Didn't she say that?
—Yes! I heard her.
—O, there's a . . . fib!
Observing me the young lady came over and asked me did I wish to buy anything. The tone of her voice was not encouraging; she seemed to have spoken to me out of a sense of duty. I looked humbly at the great jars that stood like eastern guards at either side of the dark entrance to the stall and murmured:
—No, thank you.
The young ladv changed the position of one of the vases and went back to the two young men. They began to talk of the same subject. Once or twice the young lady glanced at me over her shoulder.
I lingered before her stall, though I knew my stay was useless, to make my interest in her wares seem the more real. Then I turned away slowly and walked down the middle of the bazaar. I allowed the two pennies to fall against the sixpence in my pocket. I heard a voice call from one end of the gallery that the light was out. The upper part of the hall was now completely dark.
Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and iriy eyes burned with anguish and anger.
Appendix B
Borders Thomas King
When I was twelve, maybe thirteen, my mother announced that we were going to go to Salt Lake City to visit my sister who had left the reserve, moved across the line, and found a job. Laetitia had not left home with my mother's blessing, but over time mv mother had come to be proud of the fact that Laetitia had done all of this on her own.
"She did real good," my mother would say.
Then there were the fine points to Laetitia's going. She had not, as my mother like to tell Mrs. Manyfingers, gone floating after some man like a balloon on a string. She hadn't snuck out of the house, either, and gone to Vancouver or Edmonton or Toronto to chase rainbows down alleys. And she hadn't been pregnant.
"She did real good."
I was seven or eight when Laetitia left home. She was seventeen. Our father was from Rocky Bov on the American side.
"Dad's American," Laetitia told my mother, "so I can go and come as I please."
"Send us a postcard."
Laetitia packed her things, and we headed for the border. Just outside of Milk River, Laetitia told us to watch for the water tower. "Over the next rise. Its the first thing you see."
"We got a water tower on the reserve," my mother said. "There's a big one in Lethbridge, too."
"You'll be able to see the tops of the flagpoles, too. That's where the border is."
359
360      APPHNDIX B
When we got to Courts, my mother stopped at the convenience store and bought her and Laetitia a cup of coffee. I got an Orange Crush. "This is real lousy coffee."
"You're just angry because I want to see the world." "It's the water. From here on down, they got lousy water." "I can catch the bus from Sweetgrass. You don't have to lift a finger." "You're going to have to buy your water in bottles if you want good coffee."
There was an old wooden building about a block away, with a tall sign in the yard that said "Museum." Most of the roof had been blown away. Mom told me to go and see when the place was open. There were boards over the windows and doors. You could tell that the place was closed, and I told Mom so, but she said to go and check anyway. Mom and Laetitia stayed by the car. Neither one of them moved. I sat down on the steps of the museum and watched them, and I don't know that the}' ever said anything to each other. Finally, Laetitia got her bag out of the trunk and gave Mom a hug.
I wandered back to the car. The wind had come up, and it blew Laetitia's haii' across her face. Mom reached out and pulled the strands out of Laetitia's eyes, and Laetitia let her.
"You can still see the mountain from here," my ?nother told Laetitia in Blackfoot.
"Lots of mountains in Salt Lake," Laetitia told her in English. "The place is closed," I said. "Just like I told you."
Laetitia tucked her hair into her jacket and dragged her bag down the road to the brick building with the American flag flapping on a pole. When she got to where the guards were waiting, she turned, put the bag down, and waved to us. We waved back. Then my mother turned the car around, and we came home.
We got postcards from Laetitia regular, and, if she wasn't spreading jelly on the truth, she was happy. She found a good job and rented an apartment with a pool.
"And she can't even swim," mv mother told Mrs. Many-fingers.
Most of the postcards said we should come down and see the city, but whenever I mentioned this, my mother would stiffen up.
So 1 was surprised when she bought two new tires for the car and put on her blue dress with the green and yellow flowers. 1 had to dress up, too, for my mother did not want us crossing the border looking like Americans. We made sandwiches and put them in a big box with pop and potato chips and some apples and bananas and a big jar of water.
"But we can stop at one of those restaurants, too, right?"
"We maybe should take some blankets in case you get sleepy."
"But we can stop at one of those restaurants, too, right?"
The border was actually two towns, though neither one was big enough to amount to anything. Courts was on the Canadian side and consisted of the convenience store and gas station, the museum that was closed ancl boarded up, and a motel. Sweetgrass was on the American side, but all you could see was an
KING, •BORDERS'- 361
overpass that arched across the highway and disappeared into the prairies. Just hearing the names of these towns, you would expect that Sweetgrass, which is a nice naine and sounds like it is related to other places such as Medicine Hat and Moose Jaw and Kicking Horse Pass, would be on the Canadian side, and that Coutts, which sounds abrupt and rude, would be on the American side. But this was not the case.
Between the two borders was a duty-free shop where you could buy cigarettes and liquor and flags. Stuff like that.
We left the reserve in the morning and drove until we got to Coutts.
"Last time we stopped here," my mother said, "you had an Orange Crush. You remember that?"
"Sure," I said. "That was when Laetitia took off."
"You want another Orange Crush?"
"That means we're not going to stop at a restaurant, right?"
My mother got a coffee at the convenience store, and we stood around and watched the prairies move in the sunlight. Then we climbed back in the car. My mother straightened the dress across her thighs, leaned against the wheel, and drove all the way to the border in first gear, slowly, as if she were trying to see through a bad storm or riding high on black ice.
The border guard was a old guy. As he walked to the car, he swayed from side to side, his feet set wide apart, the holster on his hip pitching up and down. He leaned into the window, looked into the back seat, and looked at my mother and me.
"Morning, ma'am."
"Good morning."
"Where are you heading?"
"Salt Lake City."
"Puqjose of your visit?"
"Visit my daughter."
"Citizenship?"
"Blackfoot," my mother told him. "Ma'am?"
"Blackfoot," my mother repeated.
"Canadian?"
"Blackfoot."
It would have been easier if my mother had just said "Canadian" and been done with it, but I could see she wasn't going to do that. The guard wasn't angry or anything. He smiled and looked towards the building. Then he turned back and nodded.
"Morning, ma'am."
"Good morning."
"Any firearms or tobacco?"
"No."
"Citizenship? "Blackfoot."
362      APPENDIX B
He told us to sit in the car and wait, and we did. In about five minutes, another guard came out with the first man. They were talking as they came, both men swaying back and forth like two cowboys headed for a bar or a gunfight.
"Morning, ma'am."
"Good morning."
"Cecil tells me you and the boy are Blackfoot." "That's right."
"Now, I know that we got BJackfeet on the American side and the Canadians got Blackfeet on their side. Just so we can keep our records straight, what side do you come from?"
I knew exactly what my mother was going to say, and I could have told them if they had asked me.
"Canadian side or American side?" asked the guard.
"Blackfoot side," she said.
It didn't take them long to lose their sense of humour, I can tell you that. The one guard stopped smiling altogether and told us to park our car at the side of the building and come in.
We sat on a wood bench for about an hour before anyone came over to talk to us. This time it was a woman. She had a gun, too.
"Hi," she said. "I'm Inspector Pratt. I understand there is a little mi sunderstanding."
"I'm going to visit my daughter in Salt Lake City," my mother told her. "We don't have any guns or beer."
"It's a legal technicality, that's all."
"My daughter's Blackfoot, too."
The woman opened a briefcase and took out a couple of forms and began to write on one of them. "Everyone who crosses our border has to declare their citizenship. Even Americans. It helps us to keep track of the visitors we get from the various countries."
She went on like that for maybe fifteen minutes, and a lot of the stuff she told us was interesting.
"I can understand how you feel about having to tell us your citizenship, and here's what I'll do. You tell me, and I won't put it down on the form. No-one will know but you and me."
Her gun was silver. There were several chips in the wood handle and the name "Stella" was scratched into the metal butt.
We were in the border office for about four hours, and we talked to almost everyone there. One of the men bought me a Coke. My mother brought a couple of sandwiches in from the car. I offered part of mine to Stella, but she said she wasn't hungry.
I told Stella that we were Blackfoot and Canadian, but she said that didn't count because I was a minor. In the end, she told us that if my mother didn't declare her citizenship, we would have to go back to where we came from. My mother stood up and thanked Stella for her time. Then we got back in the car and drove to the Canadian border, which was only about a hundred yards away.
KING, "BORDKRS" 303
I was disappointed. I hadn't seen Laetitia for a long time, and I had never been to Salt Lake City. When she was still at home, Laetitia would go on and on about Salt Lake Citv. She had never been there, but her boyfriend Lester Tallbull had spent a year in Salt Lake at a technical school.
"It's a great place," Lester would say. "Nothing but blondes in the whole state."
Whenever he said that, Laetitia would slug him on his shoulder hard enough to make him flinch. He had some brochures on Salt Lake and some maps, and every so often the two of them would spread them out on the table.
"That's the temple. It's right downtown. You got to have a pass to get in."
"Charlotte says anyone can go in and look around."
"When was Charlotte in Salt Lake? Just when the hell was Charlotte in Salt Lake?"
"Last vear."
"This is Liberty Park. It's got a zoo. There's good skiing in the mountains."
"Got all the skiing we can use," my mother would say. "People come from all over the world to ski at Banff. Cardston's got a temple, if vou like those kinds of things."
"Oh, this one is real big," Lester would sav. "Thev got armed guards and everything.
"Not what Charlotte says." "What does she know?"
Lester and Laetitia broke up, but I guess the idea of Salt Lake stuck in her mind.
The Canadian border guard was a young woman, and she seemed happy to see us. "Hi," she said. "You folks sure have a great dav for a trip. Where are vou coming from?"
"Standoff."
"Is that in Montana?"
"No."
"Where are vou going?" "Standoff."
The woman's name was Carol and I don't guess she was any older than Laetitia. "Wow, vou both Canadians?" "Blackfoot."
"Really? I have a friend I went to school with who is Blackfoot. Do vou know Mike Harley?" "No."
"He went to school in Lethbridge, but he's really from Browning." It was a nice conversation and there were no cars behind us, so there was no rush.
"You're not bringing any liquor back, are vou?" "No."
"Any cigarettes or plants or stufflike that?"
364      APPENDIX B
"No."
"Citizenship?" "Blackfoot"
"I know," said the woinan, "and I'd be proud of being Blackfoot if I were Blackfoot. But you have to be American or Canadian."
When Laetitia and Lester broke up, Lester took his brochures and maps with him, so Laetitia wrote to someone in Salt Lake City, and, about a month later, she got a big envelope of stuff. We sat at the table and opened up all the brochures, and Laetitia read each one out loud.
"Salt Lake City is the gateway to some of the world's most magnificent skiing.
"Salt Lake City is the home of one of the newest professional basketball franchises, the Utah Jazz.
"The Great Salt Lake is one of the natural wonders of the world."
It was kind of exciting seeing all those colour brochures on the table and listening to Laetitia read all about how Salt Lake Citv was one of the best places in the entire world.
"That Salt Lake City place sounds too good to be true," my mother told her.
"It has everything."
"We got everything right here."
"It's boring here."
"People in Salt Lake City are probably sending awav for brochures of Calgary and Lethbridge and Pincher Creek right now."
In the end, my mother would say that maybe Laetitia should go to Salt Lake City, and Laetitia would say that maybe she would.
We parked the car to the side of the building and Carol led us into a small room on the second floor. I found a comfortable spot on the couch and flipped through some back issues of Saturday 'Night and Alberta Report.
When I woke up, my mother was just coming out of another office. She didn't say a word to me. I followed her down the stairs and out to the car. I thought we were going home, but she turned the car around and drove back towards the American border, which made me think we were going to visit Laetitia in Salt Lake City after all. Instead she pulled into the parking lot of the duty-free store and stopped.
"We going to see Laetitia?" ,
"No."
"We going home?"
Pride is a good thing to have, you know. Laetitia had a lot of pride, and so did my mother. I figured that someday, I'd have it, too. "So where are we going?"
KING, "HOKDEKS" 365
Most of that dav. we wandered around the duty-free store, which wasn't very large. The manager had a name tag with a tinv American flag on one side and a tinv Canadian Hag on the other. His name was Mel. Towards evening, he began suggesting that we should be on our way. 1 told him we had nowhere to go, that neither the Americans nor the Canadians would let us in. He laughed at that and told us that we should buv something or leave.
The car was not ven comfortable, but we did have all that food and it was April, so even if it did snow as it sometimes does on the prairies, we wouldn't Iree/.e. The next morning mv mother drove to the American border.
It was a different guard this time, but the questions were the same. We didn't spend as much time in the office as we had the day before. Bv noon, we were back at the Canadian border. Bv two we were back in the duty-free shop parking lot.
The second night in the car was not as much fun as the first, but my mother seemed in good spirits, and, all in all, it was as much an adventure as an inconvenience. There wasn't much food left and that was a problem, but we had lots of water as there was a faucet at the side of the dutv-free shop.
One Sunday Laetitia and I were watching television. Mom was over at Mrs. Manvfinger's. Bight in the middle of the programme, Laetitia turned off the set and said she was going to Salt Lake City, that life around here was too boring. I had wanted to see the rest of the programme and reallv didn't care if Laetitia went to Salt Lake Citv or not. When Mom got home, I told her what Laetitia had said.
What surprised me was how angrv Laetitia got when she found out that I had told Mom.
"You got a big mouth."
"That what you said."
"What I said is none of your business."
"I didn't say anything."
"Well. I'm going for sure, now."
That weekend, Laetitia packed her bags, and we drove her to the border.
Mel turned out to be friendly. When he closed up for the night and found us still parked in the lot, he came over and asked us if our car was broken down or something. My mother thanked him for his concern and told him that we were fine, that things would get straightened out in the morning.
"You're kidding," said Mel. "You'd think they could handle the simple things."
"We got some apples and a banana," I said, "but we're all out of ham sandwiches."
"You know, you read about these tilings, but you just don't believe it." "Hamburgers would be even better because they got more stuff for energy."
Mv mother slept in the back seat. I slept in the front because I was smaller and could lie under the steering wheel. Late that night, I heard my mother
3GG       APPENDIX B
open the ear door. I found her sitting on her blanket leaning against the bumper of the ear.
"You see all those stars," she said. "When I was a little girl, my grandmother used to take me and niv sisters out on the prairies and tell us stories about all the stars."
"Do you think Mel is going to bring us any hamburgers?"
"Even' one of those stars has a story. You see that bunch of stars oxer there that look like a fish?"
"He didn't say no."
"Covote went fishing, one dav. That's how it all started." We sat out under the stars that night, and mv mother told me all sorts of stories. She was serious about it, too. She'd tell them slow, repeating parts as she went, as if she expected me to remember each one.
Earlv the next morning, the television vans began to arrive, and guys in suits and women in dresses came trotting over to us, dragging microphones and cameras and lights behind them. One of the vans had a table set up with orange juice and sandwiches and fruit. It was for the crew, but when I told them we hadn't eaten for a while, a reallv skinny blonde woman told us we could eat as much as we wanted.
Thev mostly talked to my mother. Even so often one of the reporters would come over and ask me questions about how it felt to be an Indian without a countn'. I told them we had a nice house on the reserve and that my cousins had a couple of horses we rode when we went fishing. Some of the television people went over to the American border, and then they went to the Canadian border.
Around noon, a good-looking guy in a dark blue suit and an orange tie with little ducks on it drove up in a fanev car. He talked to my mother for a while, and. after thev were done talking, mv mother called me over, and we got into our car. Just as mv mother started the engine, Mel came over and gave us a bag of peanut brittle and told us that justice was a damn hard thing to get, but that we shouldn't give up.
I would have preferred lemon drops, but it was nice of Mel anywav.
"Where are we going now?"
"Going to visit Laetitia.'
The guard who came out to our car was all smiles. The television lights were so bright thev hurt niv eyes, and, if you tried to look through the windshield in certain directions, vou couldn't see a thing.
"Morning, ma'am."
"Good morning."
"Where you heading?"
"Salt Lake City."
"Purpose of vour visit?"
"Visit mv daughter."
"Any tobacco, liquor, or firearms?"
"Don't smoke."
"Any plants or fruit?"
KING, "BORDERS" 367
"Not anv more."
"Citizenship?"
"Blaekfoot."
The guard rocked back on his heels and jammed his thumbs into his gun belt. "Thank you," he said, his fingers pattering the butt of the revolver. "Have a pleasant trip."
My mother rolled that car forward, and the television people had to scramble out of the way. They ran alongside the car as we pulled away from the border, and when tliev couldn't run anv farther, thev stood in the middle of the highway and waved and waved and waved.
We got to Salt Lake City the next day. Laetitia was happy to see us, and, that first night, she took us out to a restaurant that made really good soups. The list of pies took up a whole page. I had cherry. Mom had chocolate. Laetitia said that she saw us on television the night before and, during the meal, she had us tell her the storv over and over again.
Laetitia took us everywhere. We went to a fancy ski resort. We went to the temple. We got to go shopping in a couple of large malls, but thev weren't as large as the one in Edmonton, and Mom said so.
After a week or so, I got bored and wasn't at all sad when rav mother said we should be heading back home. Laetitia wanted us to stay longer, but Mom said no, that she had things to do back home and that next time, Laetitia should come up and visit. Laetitia said she was thinking about moving back, and Mom told her to do as she pleased, and Laetitia said that she would.
On the way home, we stopped at the duty-free shop, and mv mother gave Mel a green hat that said "Salt Lake" across the front. Mel was a funny guy. He took the hat and blew his nose1 and told mv mother that she was an inspiration to us all. He gave us some more peanut brittle and came out into the parking lot and waved at us all the way to the Canadian border.
It was almost evening when we left Courts. I watched the border through the rear window until all you could see were the tops of the flagpoles and the blue water tower, and then thev rolled over a hill and disappeared.
Appendix C
Glossary of Literary Terms
The terms briefly defined here are for the most part more fully defined earlier in the text. Hence many of the entries below are followed by page references to the earlier discussions.
absurd, theatre of the plays, especially written in the 1950s and 1960s, that call attention to the incoherence of character and of action, the inability of people to communicate, and the apparent purposelessness of existence
accent stress given to a syllable
act a major division of a play
action (1) the happenings in a narrative or drama, usually physical events but also mental changes (for example, a move from innocence to experience); (2) less commonly, the theme or underlying idea of a work (9)
allegory a work in which concrete elements (for instance, a pilgrim, a road, a splendid citv) stand for abstractions (humanity, life, salvation), usually in an unambiguous, one-to-one relationship. The literal items (the pilgrim, and so on) thus convey a meaning, which is usually moral, religious, or political. A caution: Not all of the details in an allegorical work are meant to be interpreted.
alliteration repetition ol consonant sounds, especially at the beginnings of
words (free, form, />/iantom) (224) allusion an indirect reference to a work of art, religion, literature, or culture
outside the text; hence, a reference to the Bible or a well-known painting analysis an examination, which usually proceeds bv separating the object of studv
into parts (12, 40)
anapest a metrical foot consisting of two unaccented syllables followed by an
accented one Example, showing three anapests: "As I came / to the edge / of the wood"
anecdote a short narrative, usually reporting an amusing event in the life ol an important person
antagonist a character or force that opposes (literally, "wrestles") the protagonist
(the main character) apostrophe address to an absent figure or to a thing as if it were present and
could listen ("O rose, thou art sick!"); an honorific address ("Oh, sire.")
(214-1.5)
approximate rhyme only the final consonant sounds are the same, as in enncn/ahme
archetype a theme, image, motive, or pattern that occurs so often in literary
works it seems to be universal. Examples: a dark forest (for mental confusion), the sun (for illumination). There is also a critical approach called archetypal (ok myth) criticism; see Chap. 8 (110-11)
368
GLOSSARY OF I III I! MO TRUMS 369
aside in the theatre, words spoken by a character in the presence of other
characters, but directed to the spectators, that is, understood by the audience to be inaudible to the other characters
assonance repetition of similar vowel sounds in stressed syllables Example: light/bride
atmosphere the emotional tone (for instance, jov or horror) in a work, most often
established by the setting blank verse uiirhvmed iambic pentameter, that is, nnrhvined lines often
syllables, with even second syllable stressed (234-35) caesura a strong pause within a line of verse
canon a term originally used to refer to those books accepted as 1 loly Scripture bv the Christian church. The tenn has come to be applied to literary works thought to have a special merit bv a given culture, for instance the body of literature traditionally taught in colleges and universities. Such works are sometimes called "classics," and their authors are "major authors." Until recently, the canon consisted chiefly of works by dead white males—partly, of course, because middle-class and upper-class white males were in fact the people who did most of the writing in the Western hemisphere, but also because white males were the people who chiefly established the canon. Not surprisingly the canon-makers valued (or valorized or "privileged") waitings that revealed, asserted, or reinforced the canon-makers' own values. From about the 1960s, feminists and others argued that these works had been regarded as centra] not because they were inherently better than other works but because they reflected the interests of the dominant culture, and that other work, such as slave narratives and the diaries of women, had been "marginalized." In fact, the literary canon has never been static (in contrast to the Biblical canon, which has not changed for more than a thousand years), but it is true that certain authors have been permanent fixtures. This is partly because they do indeed support the values of those who control the high cultural purse strings, and partly because these books are rich enough to invite constant reinterpretation from age to age.
catastrophe the concluding action, especially in a tragedy
catharsis Aristotle's term for the purgation or purification of the pity and terror supposedly experienced while witnessing a tragedy
character (1) a person in a literary work (Romeo); (2) the personality of such a figure (sentimental lover, or whatever). Characters (in the first sense) are sometimes classified in E. M. Försters terms, as either flat (one-dimensional) or round (fully realized, capable of surprising the reader or viewer) (6, 141-46)
characterization the presentation of a character, whether bv direct description,
by showing the character in action, or by the presentation of other characters
who help to define each other (194-96) cliche an expression that through overuse has ceased to be effective. Examples:
acid test, sigh of relief climax the culmination of a conflict; a turning point, often the point of greatest
tension in a plot (44) close reading rigorous reading with attention to detail; close reading is the first
step to any analysis of a text closure the serjse of ending in a work. Early literature alwavs provided a neat
closure to resolve anv tensions and finish the plot (see comcdij); contemporary
art often refuses closure, urging the reader or viewer to take responsibility for
the significance of the work comedy a literary work, especially a play, characterized bv humour and by a
happv ending or an ending which resolves conflict (often in a return to the
status quo) (38)
57( >       VIVIAMX i
comparison and contrast to compare is strictly to note similarities; to contrast is to note differences. But compare is now often used for both activities (41)
complication an entanglement in a narrative or dramatic work that causes a conflict
conflict a struggle between a character and some obstacle (for example, another character or fate) or between internal forces, such as divided loyalties (139)
connotation the associations (suggestions, overtones) of a word or expression. Thus both "seventy" and "three score and ten" mean "one more than sixty-nine," but because "three score and ten" is a biblical expression, it has an association ol holiness; see denotation (214, 269)
consistency building the process engaged in during the act of reading, of re-evaluating the details that one has just read in order to make them consistent with the new information that the text is providing (6)
consonance repetition of consonant sounds, especially in stressed syllables. Also called half-rhyme or slant rhvme. Example: arouse/doze
convention a pattern (for instance, the 14-line poem, or sonnet) or motif (for instance, the bumbling police officer in detective fiction) or other device occurring so often that it is taken for granted. Thus it is a convention that actors in a performance of Julius Caesar are understood to be speaking Latin, though thev are, in fact, speaking English. Similarly, the soliloquy (a character alone on the stage speaks his or her thoughts aloud) is a convention, for in real life sane people do not talk aloud to themselves
couplet a pair of lines of verse, usually rhvming
crisis a high point in the conflict that leads to the turning point
critical thinking a careful way of thinking and writing that follows the rules of formal logic, testing premises and conclusions and avoiding fallacies
criticism the analysis or evaluation of a literary work
cultural materialism; cultural criticism criticism that sets literature in a social context, often of economics or politics or gender. Borrowing some of the methods of anthropology, cultural criticism usually extends the canon to include popular material, for instance comic books and soap operas
dactyl a metrical foot consisting of a stressed syllable followed by two unstressed syllables. Example: underwear
deconstruction a critical approach assuming that language is unstable and
ambiguous and is therefore inherently contradictory. Deconstruction attempts to remove the privilege which speech lias enjoyed over writing and to show that all language systems are attempts to find a stable "centre" where none really exists. Deconstruction locates the "free play of signification" between binary meanings, allowing both meanings to coexist. See Chap. 8. (107)
deixis a "pointing out" or "pointing to" in literature and, especially, in drama.
Verbal deixis includes pronouns like "here" and "now"; physical deixis employs index
denotation the dictionary meaning ol a word. Thus soap opera and daytime
serial have the same denotation, but the connotations (associations, emotional overtones) of soap opera are less favorable. (214, 269)
denouement the resolution or the outcome (literally, the "unknotting") of a plot (139)
dialogue exchange of words between characters; speech,
diction the choice of vocabulary and of sentence structure. There is a difference in diction between "One never knows" and "You never can tell." (50)
document, to; documentation the careful citation (reference to) the author and source of anv borrowed material used bv a writer. Without correct documentation, an essav is plagiarized
GLOSSARY OF L1TKRARY TERMS     37 1
documentary a style of film or play (or even poem) which aims; to create a true "document" of a subject—for example, the Inuit People in the famous film Nanook of the North (1922)—although it may use fictional elements. Of course, the documentary employs its own literary conventions and sometimes creates biased or false images which are made to appear true because of they are presented as "document." Nanook of the North is now considered to give a false view of limit people. The early work of the National Film Board was largely documentary.
drama (I) a play; (2) conflict or tension, as in "The story lacks drama" (17)
dramatic irony see irony
dramatic monologue a poem spoken entirely bv one character but addressed to one or more other characters whose presence is strongly felt (205)
effaced narrator a narrator who reports but who does 7iot editorialize or enter into the minds of anv of the characters in the storv
elegy a lyric poem, usually a meditation on a death
end rhyme identical sounds at the ends of lines of poetry
end-stopped line a line of poetry that ends with a pause (usually marked bv a comma, semicolon, or period) because the grammatical structure and the sense reach (at least to some degree) completion. It is contrasted with a run-on line
enjamrment a line of poetry in which the grammatical and logical sense rim on,
without pause, into the next line or lines (229) epic a long narrative, especially in verse, that usually records heroic material in an
elevated style epigram a brief, witty poem or saving
epigraph a quotation at the beginning of a work, right after the title, often giving a clue to the theme
epiphany a "showing forth," as when an action reveals a character with particular clarity, or a protagonist suddenly understands his plight or its consequence
episode an incident or scene that has unity in itself but is also a part of a larger action
essay a work, usually in prose and usually fairly short, that purports to be true and
that treats its subject tentatively explication a line-bv-line unfolding of the meaning of a text (31) exposition a setting-forth of information. In fiction and drama, introductory
material introducing characters and the situation; in an essay the presentation
of information, as opposed to the telling of a storv or the setting forth of an
argument (130)
eye rhyme words that look as though they rhyme, but do not rhyme when pronounced. Example: come/home
fable a short storv (usually involving speaking animals) with an easily grasped moral
farce comedy based not on clever language or on subtleties of characters but on broadly humorous situations. In classic farce, sudden changes of location or cast, and sudden revelations shift the action and create the comedy
feminist criticism an approach especially concerned with analyzing the
depiction of women in literature, the reappraisal of work bv female authors, and the manner in which women read. There are many schools of feminist criticism and a long history. See Chap. 8
fiction an imaginative work, usually a prose narrative (novel, short story), that reports-incidents that did not actually occur. The term mav include all works that invent a world, such as a lyric poem or a plav
372       APPENDIX V.
figurative language words intended to be understood in a way that is other than literal. Thus lemon used literally refers to a citrus fruit, but lemon used figuratively refers to a defective machine, especially a defective automobile. Other examples: "I'm on cloud nine," "A sea of troubles." Literally, such expressions are nonsense, but writers use them to express meanings inexpressible in literal speech. Among the commonest kinds of figures of speech are apostrophe, metaphor, and simile. (131)
film; filmic; an imaginative work recorded by camera on a strip of celluloid that is plaved by means of projected light. Video shares some similarities with the form, as does drama, but there are important characteristics of film particular to the genre
flashback an interruption in a narrative that presents an earlier episode
flat character a one-dimensional character (for instance, the figure who is only and always the jealous husband or the flirtatious wife) as opposed to a round or many-sided character
foil a character who makes a contrast with another, especially a minor character who helps to set off a major character
foot a metrical unit, consisting of two or three syllables, with a specified arrangement of the stressed syllable or syllables. Thus the iambic foot consists of an unstressed syllable followed by a stressed syllable. For a list of the kinds of feet, see Chap. 12
foreshadowing suggestions of what is to come (44)
formalist criticism an approach that assumes that the work of art is a carefully constructed artefact with a meaning that can be perceived, and agreed on, by all competent readers. Literary criticism, in this view, is an objective description and analysis of the work. See Chap. 8
fourth wall a term used of the "well-made" play where a fourth wall seems to have been removed to allow the audience to view into a naturalistic set
free verse poetry' in lines of irregular length, usually unrhymed
gap a term from reader-response criticism, referring to a reader's perception that something is unstated in the text, requiring the reader to fill in the material. Filling in the gaps is a matter of consistency-building. Different readers mav fill the gaps differently, and readers may even differ as to whether a gap exists at a particular point in the text. (6)
gaze a term from film and drama criticism sometimes used in other literary analysis. The gaze refers to the "eve" of the viewer or reader that looks with a particular point of view upon a subject in the work. feminist criticism often speaks of the "male gaze."
genre kind or type, roughly analogous to the biological term species. The four chief literary genres are nonfiction, fiction, poetry, and drama, but these can be subdivided into further genres. Thus fiction obviously can be divided into the short story and the novel, and drama obviously can be divided into tragedy and comedv. But these can be still further divided—for instance, tragedy into heroic tragedy and bourgeois tragedy, comedy into romantic comedy and satirical comedy. Today, genre borders are disappearing. In Canada, the New Bhetoric School sees genre as an agent of larger discourses; see Chap. 1
gesture physical movement, especially in a play (190)
half-rhyme repetition in accented syllables of the final consonant sound but without identity in the preceding vowel sound; words of similar but not identical sound. Also called near rhyme, slant rhyme, approximate rhyme, and off-rhyme. See consonance. Examples: light/bet; affirm/perform
GLOSSARY OF LITKKARY TF.RMS 373
hero, heroine tlie main character (not necessarily heroic or even admirable) in
a work; cť. protagonist heroic couplet an end-stopped pair oľ rhyming lines of iambic pentameter historical criticism the attempt to illuminate a literary work bv placing it in its
historical context. See Chap. 8 hubris, hybris a Creek word, usually translated as "overweening pride,"
"arrogance," "excessive ambition," and often said to be characteristic of tragic
figures (185)
hyperbole figurative language using oykrstatk.mknt, as in "He died a thousand deaths" (223)
iamb, iambic a poetic foot consisting of an unaccented syllable followed by an
accented one. Example: alone icon one of Pence's sign-functions. An icon stands in for something it directly
resembles. In current use, the word means a sign that stands for something
so fully that it has almost replaced the thing itself. Hence, Marilyn Monroe or
Madonna become iconic signs (or certain constructions of the category
"woman"; Brad Pitt or Elvis for certain notions of "man." image, imagery imagery is established by language that appeals to the senses,
especially sight ("deep blue sea") but also other senses ("tinkling bells,"
"perfumes of Arabia") (5, 216) image pattern a series of repeated or related images which tie together to
provide structure within a work indeterminacy a passage that careful readers agree is open to more than one
interpretation. According to some poststructural critics, because language is
unstable and because contexts can never be objectively viewed, all texts are
indeterminate (6)
index one of Peirce's sign-functions. An index "points to" characterization by
reference to a physical sign (costume, gait, posture, etc.) innocent eye a naive narrator in whose narration the reader sees more than the
narrator sees internal rhyme rhyme within a line
interpretation the assignment of meaning to a text (77-82)
intertextuality all works show the influence of other works. No matter how original an author thinks she is, she inevitably brings to her own story a knowledge of other stories, for example, a conception of what a short story is, and, speaking more generally an idea of what a storv (long or short, written or oral) is. In opposition to formalist critics, some contemporary critics emphasize the work's intertcxlitalitu, that is, its connections with a vast context of writings and all aspects of culture, and in part depending also on what the reader brings to the work. In this view, then, no text is self-sufficient, and no writer fullv controls the meaning of the text. Because we are talking about connections of which the writer is unaware, and because meaning is in part the creation of the reader, the author is by no means an authority.
irony a contrast of some sort. For instance, in verbal irony or socratic irony, the contrast is between what is said and what is meant ("You're a great guv," meant bitterly). In dramatic; irony or sophoclľan irony, the contrast is between what is intended and what is accomplished (Macbeth usurps the throne, thinking he will then be happv, but the action leads him to misery), or between what the audience knows (a murderer waits in the bedroom) and what a character says (the victim enters the bedroom, innocently saving, "I think I'll have along sleep") (18)
lesbian and gay criticism (queer theory; queer criticism) considers texts with homosexual characters or action, or which may be read from a gav or
374      APPENDIX C
lesbian subject position. As male and female writers and critics read texts differently, the term queer criticism is used bv some critics to capture a homosexual and resistant subject position without investing it with gender. Lesbian criticism is often connected in important ways with feminist criticism. Queer theory considers the notion of human sexuality itself and asks questions coneernmg its cultural construction. See (map. 8
litotes a form of understatement in which an affirmation is made bv means of negation: "He was not underweight," meaning "He was grossly overweight."
lyric poem a short poem, often songlike, with the emphasis not on narrative but on the speakers emotion or reverie (96)
magic realism a highly stylized form of narrative (often seen in Latin American writing and now popular in many countries including Canada) in which apparently "real" action and characters are juxtaposed with fantastic or mythical or imaginative characters without any seeming incongruity. The blend stretches the definitions of the "real."
Marxist criticism the study of literature in the light of Karl Marx's view that economic forces, controlled bv the dominant class, shape the literature (as well as the law, philosophy, religion, etc.) of a society. See Chap. 8
mask a term used to designate the speaker of a poem, equivalent to persona or voice (205)
meaning critics seek to interpret "meaning." variously defined as what the writer intended the work to say about the world and human experience, or as what the work savs to the reader irrespective of the writer's intention. Both versions imply that a literary work is a nut to be cracked, with a kernel that is to be extracted. Because few critics todav hold that meaning is clear and unchanging, the tendency" now is to say that a critic offers "an interpretation" or "a reading" rather than a "statement of the meaning of a work." Many critics todav would say that an alleged interpretation is really a creation of meaning. (4)
metadrama a play that refers to itself or breaks the dramatic illusion to comment on itself or the audience; a technique of exposing the theatricality of the work
metafigtion a novel or story that refers to itself or exposes the techniques of language and structure bv which it is composed
metanarrative the overarching story in which a person or society operates.
Some believe huge stories (of history, religion, culture, gender, etc.) to be literally true, others see them as literarv/soeial constructs that form a narrative in which we live
metaphor a kind of figurative language equating one thing with another: "This novel is garbage" (a book is equated with discarded and probably inedible food), "a piercing cry" (a erv is equated with a spear or other sharp instrument)
metonymy" a kind of figurative language in which a word or phrase stands not for itself but for something closelv related to it: sabre-rattling means "militaristic talk or action." The term is being used differently today in a more complex manner related to metaphor to imply comparisons in which the referent is not assumed to be fixed (213)
metre a pattern of stressed and unstressed syllables. A line of poetry can be named for the number of stresses it contains; hence, a line with five feet is termed pentametre, a line with three feet is called trimetre, one with four feet, tetrametre and so on; see Chap. 11
monologue a relatively long, uninterrupted speech by a character
montage in film, quick cutting (245); in fiction, quick shifts
mood the atmosphere, usually created bv descriptions of the settings and characters motif a recurrent theme within a work, or a theme common to many works
Gl.OSSARY ()F [.ITIIKAKY TERMS 375
motivation grounds tor a character's action (195)
myth (1) a traditional story' reflecting primitive beliefs, especially explaining the mysteries of the natural world (whv it rains, or the origin of mountains); (2) a body of belief, not necessarily false, especially as set forth bv a writer. Thus one may speak of Yeats or Robertson Davies as mvth-makers, referring to the visions of reality that they set forth in their works
narrator; narrative a narrator is one who tells a story (not the author, but
the invented speaker of the story); a narrative is a story (an anecdote, a novel). On kinds of narrators, see point of view
naturalism an attempt to delve into the inner workings of "real" things, including the human bodv; a technique of showing apparently "real" elements in a literary work, of making things look like thev do in everyday life and taking interest in their workings. Compare realism
new criticism see formalist criticism
new historicism a school of criticism holding that the past cannot be known objectively. According to this view, because historians project their own "narrative"—their own invention or "construction"—on the happenings of the past, historical writings are not objective but are, at bottom, political statements. See Chap. 8
novel a long work of prose fiction, especially one that is relatively realistic
novella a work of prose fiction loiiger than a short story but shorter than a novel, about 40 to 80 pages
objective point of view a narrator reports but does not editorialize or enter into the minds of any of the characters in the storv
octave, octet an eight-line stanza, or the first eight lines of a sonnet, especially of an Italian sonnet
octosyllabic couplet a pair of rhyming lines, each line with four iambic feet omniscient narrator a speaker who knows the thoughts of all of the characters in the narrative
onomatopoeia words (or the use of words) that sound like what thev mean.
Examples: buzz, whirr (232) open form poetry whose form seems spontaneous rather than highly patterned oxymoron a compact paradox, as in "mute cry," "a pleasing pain." parable a short narrative that is at least in part allegorical and that illustrates a
moral or spiritual lesson (39) paradox an apparent contradiction, as in Jesus' words: "Whosoever will save his
life shall lose it; but whosoever will lose his life for my sake, the same shall
save it" (224)
paraphrase a restatement that sets forth an idea in diction other than that of the original (31, 53)
parody a humorous imitation of a literary work, especially of its style (9, 56-57)
pastiche a mix of elements; in postmodernism, pastiche refers to a set of
borrowings that no longer carry the intent or belief system of the originals, an empty borrowing, sometimes playful
performative; pereormativity an action or speech-act by which we cause something to come into being. Hence, a doctor's statement, "I'm sorry, von have cancer" not only reports a fact, but reconstructs the auditor into the role of "patient," or "victim," with serious consequences. Feminist, gay and lesbian critics argue that gender itself is a performative, established bv repeated actions and attitudes, rather than arising in any essential quality of the biological beings, male or female
peripeteia a reversal in the action (185)
37(i      APPENDIX C
perfect (or exact) rhyme differing consonant sounds are followed by identical
stressed vowel sounds, and any further following sounds are also identical
(roic-toe; meet-fleet; buffer-rougher) persona literally, a mask; the "I" or speaker of a work, sometimes identified with
the author but usually better regarded as the voice or mouthpiece created by
the author (131)
personification a kind of figurative language in which an inanimate object, animal, or other nonhuman is given human traits. Examples: "the creeping tide" (the tide is imagined as having feet), "the cruel sea" (the sea is imagined as having moral (nullities) (214)
petrarchan (or italian) sonnet a poem of 14 lines, consisting of an octave often rhyming abbaabha) and a sestet (usually ccleccle or cdccdc)
plot the episodes in a narrative or dramatic work—that is, what happens. (But even a lyric poem can be said to have a plot; for instance, the speaker's mood changes from anger to resignation.) Sometimes plot is defined as the author's particular arrangement (sequence) of these episodes (also called sjuzet), and story (or fabida) is the episodes in their chronological order
poem; poetry an imaginative work in metre or in free1 verse, usually employing figurative language
point of view the perspective from which a story is told—for example, by a
major character or a minor character or a fly on the wall; see also narrative, narrator, omniscient narrator (5, 155-63)
post-colonial criticism a critical approach which examines aesthetic values in terms of the historical processes of imperialism and colonialism. Post-colonial critics first studied the effects of imperialism on modern nations; post-colonialism now offers useful ways of reading the relationship of power to race, gender and other social issues. In Canada, the approach is often employed to study the idea of national identity. See Chap. 8
postmodernism the term first came into prominence in the 1960s, to distinguish the contemporary experimental writing of such authors as Samuel Beckett and Jorge Luis Borges from such early twentieth-century classics of modernism as James |oyce's Ulysses (1922) and T. S. Eliot's The Waste Land (1922). Although the classic modernists had been thought to be revolutionary in their day, after World War II they seemed to be conservative, and their works seemed remote from today's society. Postmodernist literature, though widely varied and not always clearly distinct from modernist literature is given to parody and pastiche—and more closely related to the art forms of popular culture than is modernist literature.
prosody the principles of versification (227)
protagonist the chief actor in any literary work. The term is usually preferable to hero and heroine because it can include characters—for example, villainous or weak ones—who are not aptly called heroes or heroines
proverr a pith}' short saving which stays in memory by capturing a commonplace (67, 69-70)
psychological criticism a form of analysis especially concerned both with the wavs in which authors unconsciously leave traces of their inner lives in their works and with the ways in which readers respond, consciously and unconsciously, to works. See Chap. 8
pyrrhic foot in poetry a foot consisting of two unstressed syllables
quatrain a stanza of four lines
reader-response criticism criticism emphasizing the idea that various readers respond in various ways and therefore that readers as well as authors "create" meaning. See Chap. 8
glossary of literary terms 377
realism presentation of plausible characters (usually middle class) in plausible (usually everyday) circumstances, as opposed, for example, to heroic characters engaged in improbable adventures
recognition a discovery, especially in tragedy—for example, when the hero understands the reasons lor his or her fall—or a sudden realization by the reader or viewer of a meaning in the work or a dimension ol character. Also called anagnorisis and discovery
resolution the denouement or untying of the complication ol the plot
reversal a change in fortune, often an ironic twist (185)
rhyme similarity or identity of accented sounds in corresponding positions, as, for example, at the ends of lines: love/dove; lender/slender (18, 231-32)
rhythm in poetry, a pattern of stressed and unstressed sounds; in prose, some sort of recurrence (for example, ol a motif) at approximately identical intervals (229-231)
romance narrative (ietion, usually characterized bv improbable adventures and love
round character a manv-sided character, one who does not always act
predictably, as opposed to a "flat" or one-dimensional, unchanging character
run-on line a line of verse whose syntax and meaning require the reader to go on, without a pause, to the next line; an enjambed line
satire literature that entertainingly attacks follv or vice; amusingly abusive writing which seeks to amend what it sees as wrong (56-57)
scansion description of rhythm in poetry; metrical analysis
scene (1) a unit of a play, in which the setting is unchanged and the time continuous; (2) the setting (locale, and time ol the action); (3) in fiction, a dramatic passage, as opposed to a passage of description or of summary
selective omniscience a point of view in which the author enters the mind of one character and for the most part sees the other characters onlv from the outside (156)
semiotics the study of signs. Semiotic criticism looks for language and physical signs in literature and drama, exploring how sounds, words, and physical objects are part of a system of signification that allows us to communicate and perceive our world. Signs are signifiers, pointing to a thing signified.
sentimentality excessive emotion, especially excessive pitv, treated as appropriate rather than as disproportionate (99-116)
sequence (1) a series, either ol events in the action or points in an essay; (2) a group of related scenes in a liltn
sestet a six-line stanza, or the last six lines ol an Italian sonnet
setting the time and place of a storv, plav, poem, or film (37)
Shakespearean (or English) sonnet a poem of 14 lines (three quatrains and a couplet), often rhyming ahabededefefgg
short story a fictional narrative, usually in prose, rarelv longer than 30 pages and often much briefer
sign See semiotics
signifying practice a system of discourses creating verbal, visual and written texts from all aspects of human existence which help to frame (or control) human consciousness; signifying practices are often part of cultural vii i v\ \Ri-.vl v i.n 75
simile a kind of figurative language explicitly making a comparison—for example,
by using as, like, or a verb such as seems (211) social construction the notion that aspects of human life and personality and
gender are constructed bv forces of culture and society, rather than essential.
See metanarrativf
378     \l'l'l.\i>i\ (
soliloquy a speech in a plav. in which a character alone on the stage speaks his
or her thoughts aloud sonnet a lvric poem of 14 lines; see shakespearian sonnet, petrarchan
sonnet speaker see persona (205)
spectatorial experience, or spectatorship the relationship between viewer and object being viewed, especially in theatre and film. Psychological criticism and performance theories are very concerned with this relationship
spondee a metrical foot consisting of two stressed syllables
stage direction a playwright's indication to the actors or readers—for example, oflering information about how an actor is to speak a line
stanza a group of lines forming a unit that is repeated in a poem
stereotype a simplified conception, especially an oversimplification—for example, a stock character such as the heartless landlord or the kindly old teacher. Such a character usually has only one personality trait, and this is boldly exaggerated; the stereotype is usually pejorative. Contrast type, a character who also embodies a single trait, but whose characterization is neutral
stream of consciousness the presentation of a character's unrestricted flow of thought, often with free associations, and often without punctuation
stress relative emphasis on one syllable as compared with another (71)
strong ending a line ending with a stress
strong rhyme rhvme of one-syllable words (lies/cries) or, if more than one syllable, words ending with accented syllables (behold/foretold)
structuralism a critical theory holding that a literary work consists of conventional elements that, taken together bv a reader familiar with the conventions, give the work its meaning. Structuralists normally have no interest in the origins of a work (i.e., in the historical background, or in the author's biography), and no interest in the degree to which a work of art seems to correspond to reality. The interest normally is in the work as a self-sufficient construction
structure the organization of a work, the relationship between the chief parts, the large-scale pattern
STYLE the manner of expression, evident not only in the choice ol certain words (for instance, colloquial language) but in the choice of certain kinds of sentence structure, characters, settings, and themes
subplot a sequence of events often paralleling or in some way resembling the main storv (17)
summary a synopsis or condensation (52)
symbol a person, object, action, or situation that, charged with meaning, indirectly suggests another thing (for example, a dark forest may suggest confusion, or perhaps evil). Usually a symbol is less specific and more ambiguous than an allegory'. A symbol usually differs from a metaphor in that a symbol is expanded or repeated and works bv accumulating associations. It also refers to the third of Peiree's three sign-functions. In Peiree's theory there is no direct or physical relationship between a symbol and that which it represents. (See icon and index.)
synecdoche a kind of figurative language in which the whole stands for a part ("the law." for a police officer), or a part ("all hands on deck," for all persons) stands for the whole (213)
tale a short narrative, usually less realistic and more romantic than a short story; a yarn
text   anv writing, but particularly a writing which is given meaning bv its reader; in contemporary criticism text is more often used than a term like literature (75)
GLOSSARY Ol- LITF.RAKY I I l!\IS 379
theme   what the work is about; an underlying idea of a work; a conception of human experience suggested bv the concrete details (5, 163-64, 189-90, 241,245-46)
thesis   the point or argument that a writer announces and develops. A thesis differs from a topic by making an assertion. "The fall of Oedipus" is a topic, but "Oedipus falls because he is impetuous" is a thesis. (20-22. 288-89)
thesis sentence a sentence summarizing, as specifically as possible, the writer's chief point (argument and perhaps purpose); see also topic (20-21)
third-person narrator   the teller of a story who does not participate in the happenings
tone   the prevailing attitude (for instance, ironic, genial, objective) as perceived bv the reader. Notice that a reader may feel that the tone of the persona of the work is genial while the tone of the author of the same work is ironic.
topic   a subject, such as "Hamlet's relation to Horatio." A topic becomes a thesis when a predicate is added to this subject, thus: the topic "Hamlet's relation to Horatio" becomes "Hamlets relation to Horatio helps to define Hamlet." (25)
tragedy a serious play showing the protagonist moving from good fortune to bad and ending in death or a deathlike state (38, 184-87)
tragic; flaw a supposed weakness (for example, arrogance) in the tragic protagonist. If the tragedy results from an intellectual error rather than from a moral weakness, it is better to speak of "a tragic error" (186)
tragicomedy   a mixture of tragedy and comedy usually a play with serious happen-ings that expose the characters to the threat of death but that ends happily
transition   a connection between one passage and the next triplet   a group of three lines of verse, usually rhyming trochee a metrical foot consisting of a stressed syllable followed by an unstressed syllable. Example: garden trope   a figure of speech or other figurative element
understatement   a figure of speech in which the speaker savs less than what he or she means; an ironic minimizing, as in "Well, you've done fairly well for yourself said to the winner of the 6/49 jackpot. Also called ineiosis. Contrast hypberbole (223)
unity   harmony and coherence of parts, absence of irrelevance
unreliarle narrator   a narrator whose report a reader cannot accept at face value, perhaps because the narrator is naive or is too deeply implicated in the action to report it objectively
verse   (1) a line of poetry; (2) a stanza of a poem
vers libri:   free verse, unrhvmed poetry
voice   see persona, style, and tone (45, 131, 205)
weak ending   a line ending with an extra unstressed syllable
weak rhyme a rhyme of two or more syllables, with the stress falling on a syllable other than the last. Examples: falter/batter; tenderltj/slenderhj
white space in poetry, a space on the page with no text. This space is "read" as part of the poem, causing a pause, or emphasis, or a linkage
working thesis   an open-ended sentence (but still a true thesis sentence) which limits research while leaving the investigation open. Sometimes it is a good idea to write out the opposing directions the research mav take you: for example, "(Although/Because) Canada was at war with Japan in World War II, the incarceration of Japanese-Canadians (was an immoral act/was a justified military- action)."
Credits
"This is a photograph of me" from The Circle Game. Copyright © 1968, 1998 by Margaret Atwood. Reprinted by permission of House ol Anansi Press Inc.
Margaret Atwood, 'Marrying the Hangman' from Selected Poems 1966-1984. Copyright © Margaret Atwood 1990. Reprinted by permission of Oxford University Press Canada.
Birney, Earle: "The Bear on the Delhi Road" from Ghosts in the Wheels: Selected Poems, by Earl Birney. Used by permission, McClelland & Stewart Ltd. The Canadian Publishers.
Birney, Earle: "Anglo Saxon Street" from Selected Poems, by Earl Birney. Used by permission, McClelland & Stewart Ltd. The Canadian Publisliers.
Bowering, George: "Forget" from Rocky Mountain Foot, by George Bowering. Used bv permission, McClelland & Stewart Ltd. The Canadian Publishers.
Granatstein, G.L.: "Japanese-Canadians" from the Oxford Companion to the Second World War, 1995. Reprinted by Permission of Oxford University Press (UK).
"Borders" by Thomas King, from One Good Story, That One. Published by HarperCollinsPublishers Ltd. Copyright 1993 bv Thomas King. All rights reserved.
Kiyooka, Roy: Excerpt from poetic sequence "Wheels." Reprinted with permission from Pacific Windows: The Collected Poems of Roy Kii/ooka, © 1997, Talon Books Ltd.
Kroetsch, Robert. "Collected Poem" © Robert Kroetsch.
Lane, Patrick: "The Children of Bogota." Reprinted with permission of Patrick Lane.
Sloean Haiku Club: two anonymous haiku from STONE VOICES: WARTIME WRITINGS OF JAPANESE CANADIAN ISSEI. Edited by Keibo Oiwa. Published by Vehicule Press.
Sunahara, Ann: Exceq^t titled "Discrimination." Copyright 2002 Ilistorica Foundation of Canada / The Canadian Encyclopedia.
Suzuki, David: "A Planet For the Taking." Reprinted with permission of The David Suzuki Foundation.
Vigneault, Gilles: "The Wall" from Stories from Quebec. Reprinted with permission of Nouvelles Edition de Fare and Jacqueline Stratford.
Watada, Terry. "VII. 1941 Minto." From A Thousand Homes by Terry Watada, © 1995, The Mercury Press.
Webb, Phyllis: "And in Our Time", "Untitled" and "propositions" Reprinted with permission from Selected Poems: 1954-1965 by Phyllis Webb, „ 1971, Talon Books Ltd.
British Columbia Archives, Image Number 1-60959
381
Index of Authors, Titles, and First Lines of Poems
Academic Search Elite, 330 Adam Bede (Eliot), 98 The Adjuster (Egovan). 242 Against Interpretation (Sontag), 24.5 The Albanian Virgin, 157-58 Allard, Paul. 3 Altbusser, Louis. 112 Anatomy of Criticism (Five). 111 And in Our Time (Webb), 206 Anglosaxon Street (Birnev), 229
Annotated Bibliography of Canada's
Major Authors, 290 Annual Bibliography of Commonwealth
Literature, 290 Araby (Joyce), 147, 1,55, 157, 158, 354-58 ARBA Guide to Subject Encyclopedias and
Dictionaries, 331 Aristotle
The Poetics, 185 Ashcroft, Bill, ct al„ 119. 120
Post-colonial Studies Reader, 119 The Empire Writes Back, 119 "A slumber did niv spirit seal;" 221 A Student's Guide to Histon/ (Benjamin),
331
Atwood, Margaret
Marrying the Hangman, 13-14 This is a Photograph of Me, 208
Audeir, W.H.. 73. 2.30
Auhl Lang Syne, 221
Austen, jane Emma, 156
Aversa, Elizabeth, 331
Avison, Margaret. 212, 228
"A world Hew in my mouth with our first kiss," 206
Bacon. Francis, 129 Balay. Robert
Guide to Reference Books, 331 BalconriUc (Feimario), 93, 201 Baroudi, Carol, 349 Barthes, Roland, 78
Image-Music-Text, 78
Baudelaire, Charles Pierre, 150 BC Studies, 337
The Bear on the Belhi Road (Birnev),
83-84 Beauvoir, Simone de
The Second Sex, 11.5 Beckett, Samuel. 188
Waiting for Godot, 191, 195 Benjamin, Jules R.
A Student's Guide to History, 331 Bennett, Susan, 116 Bergman, Ingmar
Smiles of a Summer Night, 242 A Better Resurrection, 96 Bhablia, Homi K.
77«.' Location of Culture, 119
Nation and Narration, 119 Bible
Hebrew, 37
King James Version, 37 Bibliography of Works on Canadian
Foreign Relations. 290 Bingen, Hildegard von, 115 Birnev, Earle, 78-79, 83-84
Anglosaxon Street, 229
The Bear on the Belhi Road, 83-84
Down the Long Table, 79 Bishop. Elizabeth, 117 Blaise, Clark, 46 Blake, William
77k- Sick Rose, 216-17 Blazek, Ron, and Elizabeth Aversa
The Humanities, 331 Bodies That Matter (Butler), 118 Bodkin, Maud
Archetypal Patterns in Poetry, 1 11 "A book of verses underneath the bough," 95
The Book Lover's Guide to the Internet
(Morris), 349 Booth, Wavne
The Rhetoric of Fiction, 156 Bovvering, George, 31, 235
Forget, 31
382
INDEX OF Al'THORS, TITLES. AND FIRST LINES OF POEMS 38
Bowering, Marilyn, 211 Brief Encounter (film), 243 Bronte, Kiuilv
Wuthering Heights, 149 Brook, Peter
Kino Lear (film), 243 Brooks. Cleanth, 105 Browne]', Stephanie
Literature and the Internet. 349 Browning, Robert
My Last Duchess. 205 Brown, John Russell
Shakespeare's Plays in Performance, 198 Butler, Judith, 116
Bodies That Matter, 1.18
Cat tiers du Cinema, 244 Calishain, Tara
Official Netscape Guide to Internet Research, 349 Callaghan, Morley
A Fine and Private Place, 157 Campbell, Joseph, 110 Canada on Stage, 290 Canadian Book Review Annual, 290 Canadian Business and Current Affairs
(CBCA), 290, 330 Canadian Business Index, 290 Canadian Encyclopedia, 333 Canadian Index, 290
Canadian Internet Director!/ and Research
Guide (Carroll and Broadhead), 348 Canadian Literart/ Periodicals
Index, 289 Canadian Literature Index, 289 Canadian Magazine Index, 290 Canadian MAS, 290 Canadian MAS Full Text Elite, 330 Canadian Neivsdise. 290 Canadian News Index, 290 Canadian Periodical Index, 289 Canadian Theatre Review, 116 Canadian Writers and their Works: Poetry
Series; Fiction Series, 290 Les Canadiern (Salutin), 201 Carlvle, Thomas, 217 Carmen, Bliss, 214 Carroll, Jim, anil Rick Broadhead Canadian Internet Directory and
Research Guide, 348 Chekhov, Anton, 140 The Children of Bogota (Lane), 80-81,
101-2 Choice, 349
Cixous, Heléne, 116 Clark, Michael
Cultural Treasures of the Internet. 349 Coleridge, Samuel Taylor
The Rime of the Ancient Mariner. 110 Contemporary Literary Criticism, 290 Conies da coin de I'oeil (Yigneault). 3 Contributions to Analytical Psychology
(Jung), 110 Cook, Michael, 198, 200
Jacob's Wake, 199 Crashaw, Richard, 214 Culler, Jonathan
On Deconstruetion, 107 Cultural Treasures oj the Internet (Clark). 349
Culture and Imperialism (Said), 1 19 Cymbeline iSliakespeare), 74
Dante Alighieri, 96
Davev, Frank, 235
Davies, Robertson, 101, 158
Fiflli Business, 158, 164 Death of the Author (Bardies), 78 Deinpsey, Shawna, 1 17 Derrida. Jacques, 107, 108, 116
Of Gramnuitology, 107 Diefenbaker, John. 131 Dinner Along the Amazon (Findley). 149 The Divine Cometh) (Dante), 96 A Dolls House (Ibsen), 196 Donne, John
The Flea, 222-23 Down the Long Table (Birney), 79 Duncan, Robert. 235 The Dyer's Hand (Auden). 73 Eagleton, Tern; 68
Literary Theory. 68
Marxism and Literary Criticism, 112 "Early spring," 327 EBSCOIIost, 290, 330 Eco, Umberto
Inteqiretation and Overinteqiretation. 121
The Economy of Maniehean Allegory
(Mohamed), 119 Edgar, David, 190
The Educated Imagination (Five), 111 Egovan, Atom
The Adjuster (film), 242 Eliot, George, 98 Eliot, T.S., 68, 106
Hamlet and His Problems. 106 Ellis, John M.,65
384      IN'DHX Ol- Al THORS. TITLES. AND FIRST LINKS OK l'ÜHMS
The 'Theory of Litcran/ Criticism, 65 Emma (Austen), 156 7'/<e Empire Writes Back (Ashcroft,
et al.). 119 Encarta. 339
E.ncyclopedia of British Columbia, 333 English Studies in Canada, 118 The English Patient (Ondaatje). 143 Ex-centr'uiues, Eccentric, Avant-Garde
(Godard). 116 The Extreme Searcher's Guide to Web
Search Engines (Hock), 345
Faulkner. William
A Rose for Emilt/, 146—47 Fennario, David, 93, 1 12
Balconville. 93, 201 Ketteiiev. |udith. 106. 116 Field. Eugene, 100-1
Little Boy Blue, 100-1 Fifth Business (Davies). 158. 164 Filewood, Alan. 119n, 120 Film Theory. 244 Findlev, Timothy. 1 17. 149
Dinner Along the Amazon, 149 A Fine and Plicate Place (Callaghan), 157 First Stop, 331
"The lirst thing to understand, Manuel
says." 80 Fish. Stanley-. 109 Fit/Gerald, Edward, 95 'The Rubdiyiil of Omar KJuii/t/dm, 95 Flaubert, Gustave, 97 The Idea (Donne), 222-23 Forget (Bowering), 31 Förster. K.M.. 1 17 Foucault. Michel, 65, 78, 113
Foucaull Reader, 78
What is an Authors, 78 Eraser, Brad, I 17 Freud, Sigmund, 114 Frevtag. Gustav, 139
Tcchniijues of the Drama. 139 "The Iriends that have it I do wrong," 54 Frost, Robert, 72, 80, 207 Five, Northrop, 70
Anatoini/ of Criticism, 111
'The Educated Imagination, 111
Genre as Social Action (Miller). 110 Gibaldi, |oseph
MLA Handbook for Writers of Research Papers, 301
Godard, Barbara, 1 16
Ex-cent rupies, Eccentric, Avant-Garde, 116
Gopnik, Adam, 99-100
Gommont, Remy de, 157
'The Graduate (film), 243
Gray, Thomas, 73
Greenblatt, Stephen, 113
Grierson, John, 243
Griffiths, Gareth, 119, 120
Grolier Multimedia Encyclopedia, 337
Grove, Frederick Philip, 114
Gullivers Travels (Swift), 98
Halm, Harley
Harley Hahn a Internet and Web Yelloiv Pages, 349 Halperin, David, 118
One Hundred Years of Homosexuality and Other Essays on Greek Love, 118 Hamlet (film), 243
Hamlet and His Problems (Eliot), 106 Hamlet and Oedipus (Jones), 114 Hardv, Thomas, 163
Less of the D'Urbemilles, 156, 163 Harleij Halm's Internet and Web Yelloiv
Pages (Halm), 349 Harlow, Barbara, 116
Resistance Literature, 116 Ilarner, James L.
Literary Research Guide, 331 Ilarvie, |ennifer, 107
Constructing Fictions of an Essential Reality or 'This Pickshur is Niiiice': Judith Thompson's Lion in the Streets, 108
1 lavnes, Todd
Poison, 243 Henry V (film), 243 Herrick, Robert, 217-20, 233
Upon ftdia's Clothes, 217 Hicks. Granville, 112 I Hebert, Paul, 56 Highway, Tomson, 98-99, 201 Hirsch, E.D., 5 Hock, Randolph
The Extreme Searcher's Guide to Web Search Ejigines, 345 Hodgins, Jack, 46 This Hour Has 22 Minutes, 56 Humanities Alystracts, 336
Ibsen, Henrik, 196-97, 198-99 A Doll's House, 196
INDF.X OF AUTIIORS, TITLES, AND FIRST LINKS OF POKMS
385
The Idea of a National Theatre (Salter), 113
"I have given up," 70
Image-Music-Text (Barthes), 78
InfoTrac Total Access, 290
The Internet for Dummies (Levine,
etal.), 349 Interj>retation and Overinterf>retation
(Eeo), 121 lonesco, Eugene, 188, 189
Rhinoceros, 190 "i remember 'JAPS SURRENDER!" 327 Irigaray, Luce, 116 Itsuka (Kogawa), 325 "It was taken some time ago." 208
Jacob's Wake (Cook), 199 James, Henry, 140, 156, 189 Jameson, Frederic
Postmodernism and the Consumer Society, 57 Johnson, Samuel, 95 Jones, Ernest
Hamlet ami Oedipus, 114 Jonson, Ben, 187
Journal of American and Canadian Studies, 342
Journal of American History, 349 Joyce, James, 147
Araby, 147, 155, 157, 158, 354-58 The Judgment of Solomon, 37—38 Jung, Carl G.
Contributions to Analytical Psychology, 110
Kafka, Franz, 69, 98 Keats, John, 213-15, 233
On First Looking into Chapman s Homer, 212 Kempe, Margery, 115 Kenyan Review, 105 King Lear (film), 243 King Lear (Shakespeare), 185, 197 King, Mackenzie, 223 King, Thomas
Borders, 150, 359-67 Kiyooka, Roy, 324-325
Wheels (excerpt), 327 Klein, A.M., 213, 214 Klopf'enstein, Bruce C, 349 Knowles, Ric
Voices (off): Deconstructing the Modern English-Canadian Dramatic Canon, 113
Kogawa, Joy, 325, 329
Obasan (excerpt), 327-28 Kristeva, Julia, 116 Kroetsch, Robert, 229 Krol, Ed, and Bruce C. Klopf'enstein
The Whole Internet User's Guide and Catalog, 349
Paean, |acques, 114-15, 116
Lady Chatterley's Lover (Lawrence), 98
Lampinan, Archibald, 229, 233
"The land cut," 326
Lane, Patrick, 10 f-2
The Children of Bogota, 80-81, 102 Lapsley, Robert, and Michael Westlake
Film Theory, 244 Laurence, Margaret, 76 Laurentian Shield (Scott), 234 Lauzon,|ean-Claude
Un Zoo, la Nuit, 242 Lawrence, D.H., 98 Leacock, Stephen, 56 Leavis, F.R., 106 Lecker, Robert
Canadian Canons, 113 Lee, Jay, 349 Levertov, Denise, 235 Levine, John R., et al.
The Internet for Dummies, 349 Levine Young, Margaret, 349 Lion in the Streets (Thompson), 178, 191,
195, 200 Literati/ Essays (Pound), 157 Literary Theon/ (Eagleton), 68 Literature and the Internet (Browner), 349 Little Boy Blue (Field), 100-1 "The little tov dog is covered with dust," 101
The Location of Culture (Bhabha), 119 Lowther, Pat, 214 Coast Range, 213
Mcbeath (Shakespeare), 185, 189, 192 MacDonakl, Bryan
Whale Riding Weather, 199 MacDonakl, Bryden, 117 MacEwan, Gwendolyn, 211 Macherey, Pierre, 112 McLuhan, Marshall, 243 Mann, Thomas, 78 Marehessault, Jovette, 117 Marcuse, M.J.
Reference Guide for English Studies, 331 "Mark but this flea, and mark in this," 222
38«
INDEX OF AITHOKS, TITLES, AND FIRST FIXES OF POEMS
Marlatt. Daplme, 235
Marrying the Hangman (Atwood), 13-14
Marveil, Andrew, 222, 223, 233
7b His Coy Mistress, 222 Marxism and Literary Criticism
(Eagleton), 112 Marx, Karl, 1 11 Mellon Anne K.
Romanticism and Feminism, 115 Menander, 190 Merriman, Scott A., 349 Miki, Roy, 325
Pacific Windows. 324 Millan, Lori, 117 Miller, Carolvn R.
Genre as Social Action, 110 Millet, Kate
Sexual Politics, 115 Milton, Jolin, 230 Mimosa (Schermbrueker), 157 MLA Handbook for Writers of Research
Papers (Gibaldi), 301 MLA International Bibliography of Books and Articles in the Modern Languages and Literatures, 289, 290, 329 Modern English Canadian Prose, 290 Mohamed, Abdul R. Jan
The Economy of Manichean Allegory, 119
Moliere, Jean Baptiste Poquelin, 1S7 Mon pat/s n'est-cc pay tine pays; e'est
I'hirer, 4 Montaigne. Michel de, 129 Moon, Michael, 117-18 Morris. Evan
The Book Lover's Guide to the Internet,
349
Moulton, Richard
Shakespeare as a Dramatic Artist, 194 Mrs. Ualkncay (Woolf), 216 "Much have I traveled in the realms of
gold," 212 Mini; Kenneth
Shakespeare: The Great Tragedies, 195 Munro, Alice
The Albanian Virgin, 157-58 Murasaki Shikibu
The Tale of'Genji. 66 Mi) tjist Duchess (Browning), 205 "Mv life is like a broken howl," 96 Mystery and Manners, 164
Nakano, Takeo Ujo
Within the Barbed Wire Fence, 324
Naomi's Road (Kogawa), 325 Nation and Narration (Bhabha), 119 Neic Technologies and the Practice of
History (American Historical
Association), 349 The Neic Historicisin Reader (Veeser), 113 The New Historicisin (Veeser), 113 Nikkei Voice, 324, 335 Non Linear (Webb), 70 Northani, John
Ibsen's Search for the Hero, 196 The Notebooks of Maltc Laurids Brigge
(Rilke), 97
Obasan (exceq)t) (Kogawa), 327-28 O'Connor, Flannerv
Mystery and Manners, 164 Oedipus the King (Sophocles), 185 Official Netscape Guide to Internet
Research (Calishain), 349 Of Grammatology (Derrick), 107 Oiwa, Keibo
Stone Voices, 324 Olivier, Lawrence
Hamlet, 243
Henry V. 243 Olson, Charles, 235
O'Malley, Michael, and Roy Rosenzweig Brace New World or Blind Alley?
American History on the World Wide
Web, 349 Ondaatje, Michael
The English Patient, 143 On Deconstruction (Culler), 107 One Hundred Years of Homosexuality and
Other Essays on Greek Love
(Ilalperin), 118 On First Looking into Chapman's Homer
(Keats), 212-13 On Lies, Secrets, and Silence (Rich), 117 "O rose, thou art sick!" 216 Orwell, George, 45 The Overcoat (Panych), 195 Oxford Companion to the Second World
War, 331-32
Pacific Windows (Miki), 324 Page, P.K., 212 Panych, Morris
The Overcoat, 195 Pei-sky, Stan, 117 Perspectives: American Historical Association newsletter, 349
INDEX OF AUTHORS, TITLES. AND FIRST LINES OF POEMS ,'S8
Piaget, Jean, 21 Picasso, Pablo, 67
A Planet for the Taking (Suzuki), 132-35
The Poetics, 185
Porta/ Index Annual, 290
Poison (film), 243
Pollock, Sharon, 192
Walsh, 186 Pope, Alexander, 229, 233 Post-colonial Studies Reader (Ashcroft, et af), 119
Postmodernism and the Consumer Societi/
(Jameson), 57 Pound, Ezra, 66, 157, 196, 230
Litcran/ Essays, 157 Profiles in Canadian Literature, 290 Propositions, (Webb), 109 Pudovkin, V.l., 244 Puthod, Jacqueline de, 3
Quarterhf journal of Speech, 110 Que's Mega Weh Directory (Rositano et af), 348
The Rain Ascends (Kogawa), 325 Readers Guide, 289 Reancv, James,
Sticks and Stones, 192
The Donnelhjs, 192 Reference Guide for English Studies
(Marcuse), 331 Reid. Jamie, 235
Resistance Literature (Harlow), 116 The Rhetoric of Fiction (Booth), 156 Rhinoceros (Ionesco), 190 Rich, Adrienne
On Lies, Secrets, and Silence, 117
Vesuvius at Home, 117
When We Dead Awaken: Writing as Revision, 115 Rilke, Rainer Maria. 97
The Notebooks of Malte Laurich Rrigge, 97
The Rime of the Ancient Mariner
(Coleridge), 110 Romanticism and Feminism (Mellor), 115 A Room of Ones Own (Woolf), 115, 116 Ports, Richard, 121 A Rose for Emily (Faulkner), 146-47 Rosenweig, Roy, 349 Rositano, Dean J., et al.
Que's Mega Weh Directory, 348 Rositano. Robert A., 348
Rossetti, Christa, 96, 228
A Retter Resurrection, 96 Royal Canadian Air Farce, 56 The Ruhdu/dt of Omar Kliai/i/dm, 95
Said, Edward
Culture and Imperialism, 119
Orientalism, 119 St. Laurent, Louis, 325 St. Vincent, Edna, 228 Salter. Denis
The Idea of a National Theatre. 1 13 Salutin, Rick
Les Canadiens, 201 Sarah Binks (Iliebert), 56 Schcrmbrucker, Bill
Mimosa, 157 Scott, Duncan Campbell, 229, 231 Scott, F.R.
Laurentian Shield, 234
W.L.M.K., 223 Screen, 244 SC7V. 56
The Second Sex (de Beauvoir). 1 15 VIE 1942. Minto (Watada), 326 Sexual Politics (Millet), 1 15 Shakespeare: The Great Tragedies (Muir). 195
Shakespeare as a Dramatic Artist
(Moulton), 194 Shakespeare's Plat/s in Performance
(Brown), 198 Shakespeare, William, 200, 211, 231
Cymheline, 74
Hamlet (film), 243
Henry V (film), 243
King Lear, 185, 197
King Lear (film), 243
Macbeth, 185, 189, 192
Timon of Athens, 74
Troilus and Cressida, 74 Shaw, George Bernard, 187, 198 Shirley, |ames, 213-14 The Sick Rose (Blake), 216 A Slumber Did My Spirit Seal
(Wordsworth), 221-22 Smiles of a Summer Night (film), 242 Social Sciences Index, 330 Sontag, Susan
Against Inteq>retation, 245 Sophocles
Oedipus die King, 185 Spender, Stephen, 234
388      INI)liX OF Al II lOKS, TITLES. AND FIRST LINFS OF POEMS
Spivak. Ga\atri, 1 19
Stein. Gertrude, 117
SVi'rfcv and Sialics (Reaney), 192
Stow Voices (Oiwa), 324
Stout. Rick
Thc World Wide Web Complete Reference, 349 Strindberg. August
Miss Julie. 188-89 Suzuki. David
The Nature of Things, 132
A Planet for flic Taking, 132-35
Science Magazine, 132 Swift. Jonathan. 98
'The 'Tale ofCciiji (Murasaki), 66
'Talcs on Tiptoe (Yigneault-), 3
'Techniques of the Urania (Grevtag), 139
Tennyson. Alfred. Lord. 232
I'essakn no Scki, 324
Tcss of the D'Urbercillcs (Hardy), 156
Theatre Research in Canada, 108
The Balloon of the Mind (Yeats), 225
"The land is what's left," 213
The 'Theon/ of Literary Criticism, 65
'This is a Photograph of Me (Atwood), 208
Thomas. Dylan, 228
Thompson. Judith. 195
Lion in die Streets, 178, 191. 195, 200
White Biting Dog, 178 Tiffin, Helen, 119, 120 Timon of Athens (Shakespeare), 74 Tostevin, Lola Lemire, 212 Trinkle, Dennis, and Scott A. Merriman
The History Highway 2000, 349 l:n Zoo, la Suit (film), 242 Upon Julia's Clothes (Herrick). 217
Validitij in Inleqiretalioii (Hirsch), 5 Yeeser. II. Aram
'The Sew Historieism, 1 13
'The Keiv Historieism Reader, 113 \'esuriiis at Home (Rich), 117 Yigneault, Gilles
('antes (hi coin de Toeil, 3
Man pays n'esl-ce pay line pays; e'est rhiccr, 4
'Tales on Tiptoe, 3
The Wall, 3-4, 150 \oiccs toff): Deconsl meting the Modern English-Canadian Dramatic Canon tknowles), 1 13 Waddinglon, Miriam. 101
W'ah, Fred, 235
Waiting for Godot (Beckett), 191, 195 Walker, George F.
'/jistorozzi, 192 Wallace, Robert, 117 The Wall (Yigneault), 3-4, 150 Walsh (Pollock). 186 Watada, Tern; 324, 328-29
\ //. 1941 Minto, 326
Collected Voices, 335
Hockey Sight in China Town, 324
A Thousand Homes, 324 Webb, Phyllis, 70, 105, 109, 205-6, 207. 224
And in Our Time, 206
Non Linear, 70
Propositions, 109 "We forget those," 31 Whale Riding Weather (MacDonald), 199 What is an Author? (Foueault), 78 Wheels (exceqit) (Kiyooka), 327 When We Dead Awaken: Writing as
Re-Vision (Rich), 115 Whitman, Walt, 117-18 The Whole Internet User's Guide and
Catalog (Krol anil Klopfenstein), 349 Who's Who in Canadian Film and
Television, 290 Who's Who in Canadian Literature, 290 Wilde, Oscar, 117 Williams, Raymond, 113 Williams, Tennessee, 1 17 Wired, 349 W.L.M.K. (Scott), 223 Wolff. Janet, 245
Hermeiieutic Philosophy and the Sociology of Art, 191 Woolf, Virginia, 109, 114, 117, 216
Mrs. Dallowaij, 216
A Room of One's Own, 115 Woollenstonecraft, Mary
A Vindication of the Right of Woman, 115
Wordsworth, William, 214
A Slumber Did My Spirit Seal, 221-22 The World Wide Web Complete Reference
(Stout), .349 Wuthering Heights (Bronte), 149
Yeats, William Butler, 96, 191, 21.5, 224-27 The Balloon of the Mind, 225
Zastrozzi (Walker), 192
Subject Index
A + B model, 41, 42 abbreviations, in internal parenthetical citations, 299 absences, 38-39, 68 abstracts, 336 absurd, theatre of the, 188 action
narration of, 9-10, 30 and theme, 190 active voice, 259 Addison-Wesley Web site, 350
additions (insertions), 281 adjectives, 256 adverbs, 256
alexandrine. Sen hexainetre
allegory, 151
All-In-One Search
Page, 347 alliteration, 232 alternating model, 41-42 American Historical
Association, 349 anagnorisis. Sec recognition analysis
analytic essavs, 36-39 of character, 141—13 in comparative essays,
40-43 ol evidence, 44 in explication, .32-36 of figurative language, 215
in formal criticism, 106 of notes. 293 of plot, 192-94 in research papers,
287-88 topics for, 40, 4.3^4 of voice, 205-11 anapest (anapestic), 228
annotation, 6-7, 12-13, 32-33, 135, 217-19, 225
antecedent action, 192 antecedents, 256 apostrophe, 214 archetypal (or myth)
criticism, 1.10-11 archetypes, 110 argument, and
interpretation, 79-80 argumentative essay, 130 Argus Clearinghouse, 347 artistic unih, 68 aside, 201 assonance, 232 atmosphere, 149 audience, and purpose, 9,
241
author's name, in lead-in, 299-300
bibliographical indicies,
289-90, 329-31 bibliography, locating
materials, 289-290 Bibliography on Evaluating
Web Information
(Web Site), 349 biographical criticism, 114 black comedy. See
tragicomedy Black Mountain poetry, 31 blank verse, 234 book citations
anthologies, 304-6 edited work (other than
anthology), 304 encyclopedia and
reference works,
303-4
government documents,
306-7 introduction, foreword,
afterword, or other
editorial apparatus, 306
multiple authors, 301-2 multiple volumes, 302-3 multiple works by same
author, 302 one author, 301-2 reprinted scholarly
article, 306 reprinted works, 304 revised editions, 303 separate titles, in
collection, 303 translated book, 306 two or more works in an
anthology, 305-6 work in an anthology,
305
work in a volume ol works, by one author, 304
Boolean operators, 340—41 brainstorming, 14—15 Britannica Internet Guide, 347
caesura, 229 Canadian Archival Info
Network (Web site),
342, 344 Canadian canon, 74-75 Canadian Information by
Subject, 347 Canadian Race Relations
Foundation
(Web site), 342 caret, 281 catharsis, 185 causal essay, 130 character
analysis of, 141-43,
203-4 characterization and
motivation, 194-96 character sketch, 140^41
389
39()     si mix/r INDKX
costumes and. 196-97 gestures and, 197-98 index characters, 196
and plot, 140 sample essavou, 143-46 writing about. 141-43,
175
chronology. 148 citation format abbreviations. 299 books, 301-7 electronic citations,
309-13 internal parenthetical
citations, 296-98 line numbers, 299 non-print citations,
308-9 numbered lines, 299 periodical citations,
307-8 clarih; 24
classification cssav. 130 clauses, 257 climax, 140, 191 close reading. 100 closing, 49 closure. 49
codes, in poststructuralism, 141
colon, 262
eomedv
classes of, 187 tragicomedy; 188-89 writing about, 187-88
comma, usage, 260-61
comma splice, 262-64
commentary. 80
common knowledge, 294
comparison, 40-43 exam question, 352 organization of, 41-42 uninstructive
comparisons, 42-43
comparison/contrast essay, 130
complete reader. Sec informed reader complex sentence, 258 complication, 139 composition
common errors, 262—66
connotation, 269
denotation, 269 emphasis, 279-80 principles of 268-69 repetition and variation,
270-71 sound of sense. 271 compound-complex sentence, 258 compound sentence, 258 conclusion, concluding paragraph, 30, 87, 143, 277-78 concreteness, 214, 269-70, 352
conflict, 139. 202-3 conjunctions, 257, 263 connotation, 214, 269 consistency building, 6 consonance, 232 content notes, 300-1 context, and interpretation, 80
coordinating conjunctions,
261. 262-63 costumes, 196-195 counterevidence, 83 couplet, 233 crisis, 140 critical approaches archetypal (or mvth) criticism. 110-11 biographical criticism, 114
deconstruetion, 107-08 feminist criticism.
114-16 formalist criticism (new
criticism), 105-07 historical criticism,
112-13 lesbian and gav
criticism, 116-18 Marxist criticism.
111-12 new historieism, 113 post-colonialism theory,
119-21 psychological (or
psychoanalytic)
criticism, 114—15 reader-response
criticism, 108-10 role of criticism, 104-05
critical thinking, 82-83 nature of, 19-20 criticism
in literature, 93. 104 writer's voice, 4.5 cultural materialism,
65-66, 113 cumulative sentence. See
loose sentence
dactyl (dactylic), 228 dangling modifiers, 265 clash, 262, 266 database
indices, 330-31 information, 337 deadlines, 50 deconstruetion, 107-08 deductive cssav, 130 deletions, 281 denotation, 214, 269 denouement, 139 dependent clauses, 257 descriptive essay. 130 dimetre, 228 directed free writing. See focused free writing directories, online. See
search engines discourse theory-, 9 discussion/evaluation, of
quotation, 353 documentary films, 243 documentation
author's name, 299-300 crediting contribution of
others, 295-96, 347 internal parenthetical
citations, 296-98 sample cssav with,
315-21 Sec also citation format double rhyme. See weak
rhyme drafting
outline of draft, 25-26 process, 22
research paper, 292-94 and revision, 24-25 sample draft, 23-24 drama
SI B.JliCT INDEX     39 1
characterization and motivation. 194-96, 203-4
comedv; 187
conventions in, 200—1
on film. 204
nonverbal language, 204
plot and meaning, 190-92
postmodern plavs, 189
sample essavs, 178
setting, 198-99
stage directions, 196-97
vs. theatre, 177
theme, 189-90
tragedv. 184-186
types of plavs, 184 dramatic ironv, 185 dramatic monologue, 205 dramatic point of view. See effaced narrator
economy, in sentences,
271-72 Ecri lure fern i nine, 116 editing, 24, 51
editorial marks, 281-82 effaced narrator, 157 electronic citations abstracts. 312 basic rule, 309-10 books within a scholarly
project, 311 e-journal articles, 311 electronic mail. 313 government documents,
online, 311 independently
published online
books, 310 magazine articles, 312 online books, 310—11 online postings, 313 online scholarly projects
or databases, 310 page references, 310 personal/professional
sites, 313 reviews. 312 scholarly articles, 311 signed newspaper
articles, 312
synchronous
communication, 313 unsigned newspaper
articles, 311-12 works within scholarly
project, 310 ellipsis, 283
embedded quotations, 297 emphasis, in writing,
279-80 endnotes. See footnotes end rhyme, 232 end-stopped line, 229 English sonnet. See
Shakespearean sonnet enjambment, 229 essay examinations comparison questions,
353
discussion/evaluation, of
quotation, 353 examination strategies,
351-52 explication questions,
352
historical questions, 353 preparation, 353 purpose of exams, 351 essays
kinds of, 129-30 origins of, 129 persona, of essayist, 131 stvle, of essayist, 132—38 tone in, 131-32 essav-writing process pre-writing process, 9,
12-22, 46 drafting, 22-26, 46-47 peer review, 26, 27 final checks, 26 final version, 28-30 sample essay, 10—1 1 Evaluating Internet
Resources (Web site),
350 evaluation
critical standards. 94 distortions of reality,
98-99 morality and truth,
95-96 realism. 96-99 reviews, 94
sentimentality, 99-102 evidence. 82 analysis of, 44 supporting evidence. 45. 141-42 exact rhvine. .Sec perlect
rhyme examinations. .Sec essav
examinations experience
and enduring literary
forms, 66-68 literary insights into, 69 literature and, 73 spectatorial experience, 190-91 explication
annotations, 31-32. 225 defined, 31 exam question, 352 in formal criticism. 106 poems. 224-27 process. 31-36 sample essay; 35-36, 226-27 exposition, 192 expository essav. 130 expressive essav, 129-30 eve-rhvme. 232
falling action, 140, 191 feminine ending. See line
ending feminine rhvme. .Sec weak
rhyme
feminist criticism, I 14-16,
244 fiction
atmosphere, 149
character, 140-41
foreshadowing, 146-48
plot, 139-40
point of view, 155-59
setting, 149
symbolism, 150-51
theme, 163-64 figurative language. 211-15
and concrete language, 214
writing about. 215 films
editing, 244-45
!<).!      Sil; II C I INDEX
poststructuralist criticism, 244 sample ossav. 247-51 llieine. 245-46 \ isiial effect. 242-43 writing about, 246-51
first-person narrators. 157-59
flashback. 191
focused free writing, 15-16
toils. 195
folktales, 39
loot. 227
Nee also metrical feet
footnotes. 296, 300-1
loresliadowing in fiction, 146-48 setting and atmosphere, 149
writing on. 148-49 Ion ii
anil artistic unitv. 67—68 and meaning. 70-73 See also structure
lormalist criticism (new criticism). 105-07
fourth wall, 201
fragments, sentence, 262
free verse, 234
Krevtag's Pwamid. 140
fused sentences. 261
future perfect progressive tense, 257
luture perlect tense, 257
lutiire tense, 257
(lalaxv. 347 gaps. 6, 109
ga\ criticism. See lesbian
and gav criticism gaze. 1 14-15
cinematic ga/,c. 244 gerunds, 256
gestures, in drama. 197-98
Google, 347
grammar
and common usage, 255 parts ol speech, 255-56
grammar checkers, 26. 266-68
liall-rhvme, 232 hamartia. 186
heptametre, 228 heroic- couplet, 233 hexanietrc, 228 historical criticism, 142-13 historical exam question, .353
historical research historical sources,
331-35 in tern i i lent of J apai icse-
Canadians, 323-37 literary texts, 324-29 •See also Research methodology; Web search strategies hubris, 185 hyperbole, 223 hyphen,266
iamb (iambic), 228 iconic characters, 195 ideas, generating analytical questions, 17-18
annotation, 6-7, 12-13 audience and puqrose, 9 brainstorming, 14-15 critical thinking, 19-20 drama, 202-4 (ocused lice writing,
15-16 journals, 18-19 listing, 16-17 notes, 46 poetry 240-241 idioms, paraphrasing,
54-55 image patterns, 215 imagery, and symbolism,
216-17 imperative mood, 259 inchisiveness, in
i n t e rpret ative e s s ay, 80
independent clauses, 257 indeterminacies, 6, 108, 109
index characters, 196 indicative mood, 259 inductive essay, 130 inferences, reasonable, 5-6 infinitives, 256 informed reader, 110
initial response, 7-8 innocent eye, 158 interlibrary loan, 330 internal parenthetical
citations, 296-99 internal rhyme, 232 interpretation
and author's intention.
78
characteristics of good
interpretation, 79-80 defined, 77 and evidence, 82 and literary' criticism, 93 and meaning, 69-70 of reader, 78-79 sample essays, 83-91 sample work, 81-82 Si'c also meaning intertextual elements, 108 intetionalism, 78 intransitive verbs, 256 introduction, plot, 139 introductory paragraph. Sec opening paragraph irony, 185
verbal irony, 223 Italian sonnet. See
petrarclian sonnet italics. 285
Japanese-Canadian
Internment (Web site), 342
journal entries. 18—19, 33-34, 135-36, 218-219,225-26
judgments,
communicating, 45
lesbian and gay criticism,
116-18 Lib ran- of Congress
Subject Headings
(LCSH), 334 Libvveb, 347 line ending, 229 line numbers, 87, 299 listing, 16-17 literary criticism. See
critical approaches;
SUBJECT INDEX 393
criticism; evaluation; interpretation
literature
and cultural studies, 75 and form, 66-69 literary canon, 72-75 and meaning, 69—73 problem of definition,
65-66 truth and, 67, 69
loaded opinion, 294
logical structure, 222—24
logocentric, 107
Longman Web site, 350
"looping," 15
loose sentence, 258
magic realism, 158 main clauses. See
independent clauses manuscript form, 280-81 Marxist criticism, 111-12 masculine ending. See line
ending masculine rhyme. See
strong rhvme meaning
form and, 70-73 intended meaning, 78 and interpretation,
69-70 and personal
experience, 4-5 and reader's experience,
78-79 vs. significance, 5 See also interpretation; reading meditative essay. .See expressive essay meiosis. See
understatement mental action, 140 metadraniatic plays, 191, 193
metanarrative, 97 metaphor, 212-214 metonymy, 213-14 metre, 227-28 metrical feet, 228 metrical lines, 228-29 misplaced modifiers, 264 mixed constructions, 266
MLAon the Web, 350 monometre, 228 montage, 245 mood, 192, 259 shift in, 265 morality and truth, as critical standards, 95-96
narrative essay, 130 narrative structure, 221—22 National Film Board, 243 national identity, 120 naturalism, 198-99 new criticism. See lormalist
criticism new historicism, 75, 113 non-print citations
CD or sound recording,
309
film or videotape, 309 lectures, 308-9 performances, 309 personal interviews, 308 published interviews, 308
television or radio program, 309 non-restrictive
information, 261
notes
content notes, 300-1 note taking, 291-92 o{ review, 58 using, 137, 143, 159, 164-65,168-69, 178-79 See also annotation; footnotes number, shift in, 265 objective case, 260 objective point of view. See
effaced narrator objective view, 109 obstructionists, 187 octave, 233
octosyllabic couplet, 233 Oedipus complex, 114 omniscient narrator,
155-57 onomatopoeia, 232 open form,235 See also free verse
opening paragraph, 30, 49,
86, 276-77 opinion, loaded opinion,
294 organization
character, of essay on,
141-43 of comparison, 41-42 of essay material, 44-45 foreshadowing, of essay-on, 148-49 notes, 291-92 plot, of essay on, 193-94 point of view, of essay
on,162-63 revising for, 24 outlining
creation of draft, 22 purposes of, 25-26 scratch outline, 151-52
page references
electronic sources, 310
printed sources, 299 paradox, 224 paragraph break, 282 paragraphs
coherence, 276
concluding paragraph, 30, 87, 277-78
and essay organization, 25-26
opening paragraph, 30, 49, 86, 276-77
revision, 278-79
unity, 274—76 parallelism, faulty, 266 parallels, 272-73 paraphrase, 31, 53-55, 215 parody, 55-56 participant point of view. Sec first-person narrators participles, 256 passive voice, 259, 272 pastiche, 56-57 past perfect progressive
tense, 257 past perfect tense, 257 past tense, 257 peer review, 26 pentametre, 228 perfect rhyme, 231
394    si nine :t index
performative, and gender, 116
perfomiativitv. of drama. 190
periodical citations hook review, 308 magazine article, 307-8 newspaper article, 308 scholarly article. 307
periodic sentence, 258
persona, 131
See also speaker
personality. See drama, characterization and motivation
personal pronouns, 256
personification, 214
person, shift in, 26.5-66
persuasive essay See
argumentative essay
petrarclian sonnet, 233
phrases, 257
plagiarism, avoidance ol, 292, 294-96
plays, numbered lines, 299
plot
in drama, 190-92, 202-3 elements of, 139-40 meanings, 139, 190-92 store and, 190 summary 52-53 writing about, 174,
192-94 poems
blank verse, 234 form and meaning,
70-72 free verse, 234 line numbers, 299 open form, 235 structure, 217-24.
229-35 poetry
explication. 31-36,
224-27 figurative language,
' 211-15 metre, 227-28 metrical feet, 228 metrical lines, 228-29 patterns of sound,
231-32 prosody, 227-35 rhyme, 231-32
rhythm. 229-35 sample essays on,
219-20, 230-39 stanzaic patterns,
233-34 state of mind in, 205 versification and
rhvthm, 227—35 voice. 205-9 writing about, 217—20,
235-39 point of view
first-person narrators,
157- 59
sample essay, 159—162 third-person narrators,
155-57 writing about, 157,
158- 59, 175, 240-41 Sec also speaker
polishing, 24 possessive ease, 260 post-colonialism theory
119-21 poststructuralism, 107-8,
113
preliminary thesis. Sec
working thesis prepositions, 257 present perfect tense, 257 present tense, 257 pre-writing process. See
ideas, generating primary materials, 288 process essay 130 pronoun reference (mistake in agreement), 264-65 pronouns, 256, 263—64
case, 260 proofreading, 26, 30 prosody, 227-35 psychological (or psvehoanahtic) criticism, 114-15 punctuation comma, 260-61 of embedded
(nictations. 297 of quotations, 282-85 semi-colon, 262, 263 of set-down quotations, 297 pvrrhic, 228
quatrain sonnet, 233 queer theory, 118
See also lesbian and gay criticism questions, analytical questions, asking, 17-18 ((notation
adding material, 282 effective use of, 163 embedded quotations,
282, 297 lead-in, 29.3, 299-300 note taking, 292 omitting material, 283 from poem, 284 set-down quotations, 283-84, 298 ((notation marks, in
unpublished works, 285
reader-response criticism,
108-10 reading
and annotation, 6-7 and initial response, 7-8 and reasonable
inferences, 5-6 as re-creation, 4-5 realism, 198 recognition, 186 relative pronouns, 256,
263-64 repetition, 101, 270 repetitive structure, 221 research methodology abstracts, 336-37 bibliographical listings,
329- 31 databases, 330, 337 electronic librarv
catalogue, 344 index issues, of
individual journals, 337
indices, electronic,
330- 31 latest works, 334 locating materials,
288-89 note taking, 291-92 reference works, 331-33 sub-subject listings, 337
SI I'.II ( I l.NDKX     ;?<■); >
working bibliography, 289-90
See also Well search strategies research paper
analysis and interpretation, 287-88
documentation, 294-96
drafting, 292-94
revision. 321
sample essav. 315-21 resolution, 139 response, literary, 55-56 restrictive information, 261 review, 57-62
courtesy 62
notes, 58
sample, 59-61
sincerity, 45
writing suggestions, 57-58. 62
See also evaluation revision
of draft, 24
of paragraphs, 278-79 of research paper, 321 rhyme, 231-32 rhythm, 229-30 rising action, 139, 191 romantic comedy 187 rose, as symbol, 216-17 run-on line, 229
satiric comedy, 187 scansion, 228 search engines, 289, 340-41, 347-48 search engines. See also
Well search strategies secondary' materials, 288 selective omniscient,
155-57 self, ideal (mm), 114-15 semi-colon, 262, 263 semiotic criticism, 196 sentences
economy in, 271-72
mood, 259
parallels, 272-73
subject, 255
subordination, 273-74
types of, 258
voice, 259 sentimentality, 99-102 separation, of words, 281 sestet, 233
set-down quotations, 298 setting, 149, 175-76
stage, 198-200 Shakespearean sonnet,
233-34 sign. 107, 141
significance, vs. meaning, 5
signifier. See sign
similie. 211
soliloquy, 201
Sophoclean irony, 185
sound patterning blank verse, 234 free verse, 2.34-35 rhyme, 231-32 stanzaic patterns,
233-34 sound of sense (wordplay), 271
speaker
and author, 205 identifying, 206-8 tone, 207. 240 writing about, 207-8
spectatorial economy, 1 11
spectatorial experience, 190-91
speculative essav. .Sec expressive essay
spelling, spell checkers, 26, 27
spondee (spondaic), 228 square bracket, 282 stage directions, 196-97 stanzaic patterns, 233-34 storv, vs. theme, 164 stream of consciousness, 15
strong ending, in poetry, 229
strong rhyme, 232 structure
comparison, 41-42 in literature, 38 logical structure, 222-24 narrative structure,
221-22 poem, 33-34, 217-24, 227-35
repetitive structure, 221
style, of essayist
analysis, 135-36, 176 sample essay on, 136-38 sample work, 132-35
subject catalogue,
electronic library. 334
subjective case, 260
subjective view. 109
subjunctive mood. 259
subordinate clauses. See dependent clauses
subordination. 273-74
summary. 52-53
symbolic characters, 195
symbolism
in fiction, 150-51 imagery and. 216-17 sample essav, 151-55 writing about. 176. 247-51
symmetry. 39
svneehdoche, 213
syntax. 254-55
taste, personal, 94 technical language, 50 tense, 257
present tense, use ol, 30
shift in, 265 tercet. .Sec triplet tetrametre, 228 texts, 75-76 theatre, 177
review, 57-62 theme
of drama. 189-90
of fiction. 163-64
of films, 245-45
of poems. 241
sample essays. 166-67. 169-73
vs. thesis, 164 thesis
consistent argument, 49 formation of, 20-22, 43 vs. theme. 164 thesis sentence, 20 working thesis. 288 Thinking Critically about Discipline-Based World Wide Web
'.' >< >       Sl iui (  i l\l )l \
Resources (Web site). 350
third-person narrators,
155-57 Tisli poets, 235 title. 33
ot'essav, 30, 86, 102,
174,'219, 285 on inaiiuscript. 88,
280-81 ol published work, 285 shortened version, 300 ol unpublished work, 285
tone
in essays, 131-32 and paraphrasing, .55 speaker and, 207, 240
tragedy
tragic hero, 184-86 writing about, 186-87
tragic error, 186
tragic Haw, 186
tragicomedy 188-89
transitive verbs, 256
transposition, of letters, 281
trimetre. 228
triplet, 233
trochee (trochaic). 228 truth and realism, as
critical standards,
96-99 turning point, 140 typographical errors. Sec
proofreading
understatement. 223 unity, 24
artistic unity, 68 unreliable narrator, 158
variation. 270-71 verbal irony, 185 verbals, 256-57 verbs, 256 verse, 110
.Sec also stanzaic
patterns voice (grammar), 259
shift in, 265 voice (poetry). Sea speaker voice (writing), in critical
essay, 43
weak ending, in poetry, 229 weak rhyme, 232 Web Resources
citation. 350
online evaluation of sites. 349-50 Web search strategies, 340-46
dead links, 340
evaluating sources, 346
Help pages, 34.5
logical operators, 340-41
relevant sources, 341—44
reliable sources, .341
wild cards, 341 wisdom literature, 40 word choice, 131 wordplay, 271 word processors, 26 working bibliography,
289-90 working thesis, 288 Works Cited list, 296, 301 writing process. .See essay-writing process
Yahoo!347
Symbols Commonly Ised in Marking Papers
All instructors have their own techniques lor commenting on essavs, hut manv make substantial use ol the billowing svmbols. When instructors use a SMiihol. thev assume (hat the student will carclulh read the marked passage and will see the error or will check the appropriate relereuce.
0.^r laultv agreement between subject and verb
ak)k (K) awkward
flpflS apostrophe missing or misused
art article missing or misused
CJXp use a capital letter
tvf comma fault
CS comma splice
dictlOU inappropriate word; see page 269
&npk emphasis is obscured; see pages 273-27 I
-frfl^ bagmentarv sentence
id unidiomalic expression
l-tal underline to indicate italics: see page 2S5
I logic; this does not lollow: see pages 19-20
)M(M misplaced niodilier
ft' new paragraph
paSS weak use ol the passive: see page 272
psj shill in point ol xicw or person
r£"f relereuce ol pronoun vague or misleading
Xtp awkward repetition; sec pages 270-271
Sp misspelling
Sub subordinate; see pages 273- 271
-i    tense incorrect  Ion the use ol  the present tense in narrating the content ol a literarv work, sec page 30)
LOBrdy see pages 271-272
LOIO wrong word: sec pages 269-270
)C this is wrong
? reallv? are von sure? I doubt it (or I can t read this)