READING LIST: HISTORIA LITERARIA VII* 2011-2
Cormac McCarthy: The Road
The Exploded Form
Essays
H. James (1843-1916): ‘The Art of Fiction’
Gertrude Stein (1874-1946): ‘Composition as Explanation’
Toni Morrison (1931-): ‘Unspeakable Things Unspoken: The Afro-American Presence in American Literature’
Susan Sontag (1933-2004): ‘Against Interpretation’ (1966)
Alice Walker (1944-): ‘In Search of Our Mothers’ Gardens’
Narrative Fiction
H. James: The Aspern Papers/ The Turn of the Screw
Kate Chopin (1851-1904): The Awakening
Charlotte Perkins Gilman (1860-1935): ‘The Yellow Wallpaper’
Susan Glaspell (1882-1948), ‘A Jury of Her Peers’
Edith Wharton (1862-1937): ‘Ethan Frome’
Willa Cather (1873-1947): ‘Neighbor Rosicky’
Gertrude Stein (1874-1946): ‘The Good Anna’
Sherwood Anderson (1876-1941): ‘Queer’
Katherine Anne Porter (1890-1980): ‘Old Mortality’
Zora Neale Hurston (1891-1960): ‘The Gilded Six-Bits’ and an essay
F. Scott Fitzgerald (1896-1940): ‘The Diamond as Big as the Ritz’
William Faulkner (1897-1962): As I Lay Dying
Ernest Hemingway (1899-1961): Extracts from In Our Times
Carson McCullers (1917-1967): The Ballad of the Sad Café
Toni Morrison (1931-): Sula
Charles Johnson (1948-): Middle Passage
The Necessary Angel: Modern American Poetry (selection from the Norton Anthology)
Robert Frost (1874-1963)
Wallace Stevens (1879-1955): ‘The Snow Man’/ ‘The Emperor of Ice-Cream’/ ‘Thirteen Ways of Looking at a Blackbird’/ ‘The Idea of Order at Key West’
W.C. Williams (1883-1963): ‘Queen-Ann’s-Lace’/ ‘The Term’/ ‘The Red Wheelbarrow’/ extracts from ‘Paterson’
E. Pound (1885-1972): ‘Hugh Selwyn Mauberley: Life and Contacts’/The Cantos (I)
Hilda Doolittle (H.D.) (1886-1961): ‘Oread’/ ‘The Walls Do Not Fall’
M. Moore (1887-1972): ‘The Past is the Present’/ ‘The Fish’/ ‘To a Snail’/ ‘Poetry’/ ‘The Student’/ ‘Bird-Witted
Edna St. Vincent Millay (1892-1950)
e.e. cummings (1894-1962): ‘Buffalo Bill’ and others
Langston Hughes (1902-1967): ‘The Negro Speaks of Rivers’/ ‘Mother to Son’/ ‘Mulatto’/ ‘Young Gal’s Blues’
Charles Olson (1910-1970): Selections from The Maximus Poems
Elizabeth Bishop (1911-1979), Robert Lowell (1917-1977), Gwendolyn Brooks (1917-2000), Denise Levertov (1923-1997), Allen Ginsberg (1926-1997), John Ashbery (1927-), Adrienne Rich (1929-), Gary Snyder (1930-), Sylvia Plath (1932-1963), Audre Lorde (1934-1992), Rita Dove (1952-).
Please make sure to have The Norton Anthology for this course. See Biblio. on blog.
* This list may be changed depending on the students’ participation and input, but these texts should be read before the semester begins.
3 comentarios:
The next week I will present 'Cat in the rain' and 'Mr. and Mrs. Ellot' from IN OUR TIMES.
Mariana Lupercio
Hi everybody!
Here is the link to the poems of Robert Frost
http://www.internal.org/Robert_Frost
The poems we will see in class are: "The Road Not Taken", "Fire and Ice" and "Desert Places"
Liliana Martínez
Poems to be discussed next time (do read them before the class):
WALLACE STEVENS
'The Emperor of Ice-Cream'
Call the roller of big cigars,
The muscular one, and bid him whip
In kitchen cups concupiscent curds.
Let the wenches dawdle in such dress
As they are used to wear, and let the boys
Bring flowers in last month's newspapers.
Let be be finale of seem.
The only emperor is the emperor of ice-cream.
Take from the dresser of deal.
Lacking the three glass knobs, that sheet
On which she embroidered fantails once
And spread it so as to cover her face.
If her horny feet protrude, they come
To show how cold she is, and dumb.
Let the lamp affix its beam.
The only emperor is the emperor of ice-cream.
'Thirteen Ways of Looking at a Blackbird'
I
Among twenty snowy mountains,
The only moving thing
Was the eye of the black bird.
II
I was of three minds,
Like a tree
In which there are three blackbirds.
III
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.
IV
A man and a woman
Are one.
A man and a woman and a blackbird
Are one.
V
I do not know which to prefer,
The beauty of inflections
Or the beauty of innuendoes,
The blackbird whistling
Or just after.
VI
Icicles filled the long window
With barbaric glass.
The shadow of the blackbird
Crossed it, to and fro.
The mood
Traced in the shadow
An indecipherable cause.
VII
O thin men of Haddam,
Why do you imagine golden birds?
Do you not see how the blackbird
Walks around the feet
Of the women about you?
VIII
I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.
IX
When the blackbird flew out of sight,
It marked the edge
Of one of many circles.
X
At the sight of blackbirds
Flying in a green light,
Even the bawds of euphony
Would cry out sharply.
XI
He rode over Connecticut
In a glass coach.
Once, a fear pierced him,
In that he mistook
The shadow of his equipage
For blackbirds.
XII
The river is moving.
The blackbird must be flying.
XIII
It was evening all afternoon.
It was snowing
And it was going to snow.
The blackbird sat
In the cedar-limbs.
'Nuances of a Theme by Williams'
It's a strange courage
You give me, ancient star:
Shine alone in the sunrise
toward which you lend no part!
I
Shine alone, shine nakedly, shine like bronze
that reflects neither my face nor any inner part
of my being, shine like fire, that mirrors nothing.
II
Lend no part to any humanity that suffuses
you in its own light.
Be not chimera of morning,
Half-man, half-star.
Be not an intelligence,
Like a widow's bird
Or an old horse.
WILLIAM CARLOS WILLIAMS
'The Red Wheelbarrow'
so much depends
upon
a red wheel
barrow
glazed with rain
water
beside the white
chickens.
'The Term'
A rumpled sheet
Of brown paper
About the length
And apparent bulk
Of a man was
Rolling with the
Wind slowly over
And over in
The street as
A car drove down
Upon it and
Crushed it to
The ground. Unlike
A man it rose
Again rolling
With the wind over
And over to be as
It was before.
'Queen Anne's Lace'
Her body is not so white as
anemone petals nor so smooth--nor
so remote a thing. It is a field
of the wild carrot taking
thefield by force; the grass
does not raise above it.
Here is no question of whiteness,
white as can be, with a purple mole
at the center of each flower.
Each flower is a hand's span
of her whiteness. Wherever
his hand has lain there is
a tiny purple blossom under his touch
to which the fibres of her being
stem one by one, each to its end,
until the whole field is a
white desire, empty, a single stem,
a cluster, flower by flower,
a pious wish to whiteness gone over--
or nothing.
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