744 84 Lady LazarusSylvia Plath p 744 85 Suggestions for Writing 85 CHAPTER 23

744 84 lady lazarussylvia plath p 744 85 suggestions

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“Touch”—Octavio Paz (p. 744) ............................................................................................................... 84 “Lady Lazarus”—Sylvia Plath (p. 744) ................................................................................................... 85 Suggestions for Writing ............................................................................................................................ 85 CHAPTER 23: FIGURES OF SPEECH ................................................................................................... 86 “A Conversation on Writing with Al Young” (p. 751) .............................................................................. 86 “Doo-Wop: The Moves”—Al Young (p. 751) ........................................................................................... 87 “Sweet like a Crow”—Michael Ondaatje (p. 753) .................................................................................. 87 “You Fit into Me”—Margaret Atwood (p. 755) ....................................................................................... 87 “Simile”—N. Scott Momaday (p. 757) ..................................................................................................... 88 “Metaphors”—Sylvia Plath (p. 758) ....................................................................................................... 89 “Jump Cabling”—Linda Pastan (p. 760) ................................................................................................ 89 “Fire and Ice”—Robert Frost (p. 762) .................................................................................................... 89 “Naming of Parts”—Henry Reed (p. 764) ............................................................................................... 89 “Composed Upon Westminster Bridge, September 3, 1802”—William Wordsworth (p. 766) ................. 90 “Fugitive Woman”—Gabriela Mistral (p. 768) ....................................................................................... 90 “Kyoto”—Matsuo Bashō (p. 770) ............................................................................................................ 91 “Their Sex Life”—A. R. Ammons (p. 771) ............................................................................................... 91 “One Perfect Rose”—Dorothy Parker (p. 773) ....................................................................................... 91 “Most Like an Arch This Marriage”—John Ciardi (p. 774) .................................................................... 91 “she being Brand”—e.e. cummings (p. 775) ............................................................................................ 91 “To Autumn”—John Keats (p. 775) ......................................................................................................... 91 “Root Cellar”—Theodore Roethke (p. 776) ............................................................................................ 92 “rite on: white america”—Sonia Sanchez (p. 777) .................................................................................. 92 “Chicago”—Carl Sandburg (p. 777) ....................................................................................................... 93 “A Noiseless Patient Spider”—Walt Whitman (p. 778) ........................................................................... 93 Suggestions for Writing ............................................................................................................................ 94 CHAPTER 24: SOUND, RHYME, & RHYTHM .................................................................................... 95 “A Conversation on Writing with Thomas Lynch” (p. 784) ..................................................................... 95 “Iambs for the Day of Burial”—Thomas Lynch (p. 785) ......................................................................... 95 “Western Wind”—Anonymous (p. 786) .................................................................................................... 96 “Digging”—Seamus Heaney (p. 790) ...................................................................................................... 96 6
“Jaberwocky”—Lewis Carroll (p. 792) ................................................................................................... 96 “Bright Star—Would I Were as Steadfast as Thou Art”—John Keats (p. 792) ........................................ 97 “Only until this cigarette is ended”—Edna St. Vincent Millay (p. 793) .................................................. 97 “A Birthday”—Christina Rossetti (p. 793) .............................................................................................. 97 “Fern Hill”—Dylan Thomas (p. 794) ...................................................................................................... 97 “The Lake Isle of Innisfree”—William Butler Yeats (p. 795) .................................................................. 98 “Sir Patrick Spence”—Anonymous (p. 797) ........................................................................................... 99 [True Ease in Writing Comes from Art, Not Chance], excerpt from An Essay on Criticism—Alexander Pope (p. 799) .......................................................................................................................................... 101 “The Fish”—Marianne Moore (p. 803) ................................................................................................. 101 “The difference between Despair”—Emily Dickinson (p. 805) ............................................................. 102 “Woman’s Work”—Julia Alvarez (p. 806) .............................................................................................. 102 “The Tyger”—William Blake (p. 807) .................................................................................................... 102 “She Walks in Beauty”—George Gordon, Lord Byron (p. 808) ............................................................. 102 “We Wear the Mask”—Paul Laurence Dunbar (p. 808) ........................................................................ 103 “When I was one-and-twenty”—A.E. Housman (p. 809) ....................................................................... 104 “Chopin”—Mary Nelson (p. 228) .......................................................................................................... 104 “Sadie and Maud”—Gwendolyn Brooks (p. 812) .................................................................................. 105 “The Southeast Corner”—Gwendolyn Brooks (p. 813) ......................................................................... 105 “A Song in the Front Yard”—Gwendolyn Brooks (p. 813) ..................................................................... 105 “Trochee trips from long to short”—Samuel Taylor Coleridge (p. 817) ............................................... 106 “Pied Beauty”—Gerard Manley Hopkins (p. 819) ................................................................................ 106 “Bonnie Barbara Allan”—Anonymous Scottish Ballad (p. 820) ........................................................... 106 “Hymn to God, My God, In My Sickness” (p. 821) ............................................................................... 107 “The Times They Are A-Changin’”—Bob Dylan (p. 822) ...................................................................... 107 “La Belle Dame Sans Merci”—John Keats (p. 822) ............................................................................. 108 “The Electric Slide Boogie”—Audre Lorde (p. 823) .............................................................................. 108 “Annabel Lee”—Edgar Allan Poe (p. 824) ............................................................................................ 109 Suggestions for Writing .......................................................................................................................... 109 CHAPTER 25: FIXED POETIC FORMS .............................................................................................. 110 “A Conversation on Writing with Edward Hirsch” (p. 832) .................................................................. 110 “My First Theology Lesson”—Edward Hirsch (p. 833) ......................................................................... 111 “How do I love thee? Let me count the ways”—Elizabeth Barrett Browning (p. 839) ......................... 111 “On First Looking into Chapman’s Homer”—John Keats (p. 841)

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